Karan Bhardwaj

ARCHIVES: CAMP IN THE DESERT

2015-12-29T17:44:00.001+05:30

The Jodhpur Gypsy and Flamenco Festival was a rare treat featuring interesting collaborations. Karan Bhardwaj attended it and found out how Spanish dancers are making hay

If music can actually manoeuvre climate, then it was quite heartening to find rains welcoming musicians and performers at Mehrangarh Fort during the three-day Jodhpur Gypsy and Flamenco Festival. The thunderstorm might have disturbed the perfect setting of light and sound across the fort but Indra Dev (God of rains) offered much revered experiences, both to the performers as well as the audience. On the very first day, the Moti Mahal arena immediately became the baithak of musicians where they broke into an impromptu jig, inspiring many in the audience to regale rain and music together. “That’s how we do in Spain. If you have Flamenco performers at a gathering, say a party or a bar, then such acts are natural,” said Spanish Flamenco artiste Karen Lugo.

As per the Spanish tradition, she said the juerga (an informal, spontaneous gathering) soon metamorphosed into peña flamenca (a meeting place of musicians) where she, along with other musicians, like vocalist Naike Ponce, violinist Victor Guadiana and drummer Israel Varela brought alive the true spirit of Flamenco. “We had performed on stage earlier but we wanted to continue the party. When you have a small area with people so energetic, it becomes easier to entertain yourself and others. Sometimes, nature intervenes in its own way and you have to respect that. But it allowed us an intimate concert. This is what Flamenco is all about,” said Naike Ponce.

Before climate took a dramatic turn, Aditya Bhasin-led band Rajasthan Roots collaborated with Flamenco artistes to give the audience a ‘sufi gypsy’ flavour. They sang renditions by Bulleh Shah, devotional tracks and songs from Kamad community. Creating a mesmerising jugalbandi of bass, vocal, harmonies and effects, the band created a pulsating groove that bore within it the electrifying percussions of Rajasthan. The team later performed a fusion with Flamenco legends like pianist Chano Dominguez, dancer Daniel Navarro, bassist Javier Colina and El Bola.

On the second day, the overcast dispelled but the musical spirit got stronger.

It was the moment of the festival when Karen Lugo, in her colourful gown, and Asha Sapera, from Jodhpur’s Kalbelia community, spiralled together on the stage. Lugo’s passionate and furious steps were mellowed down by Asha’s cheerful smile and effortless whirls. Her colourful costume and accentuated makeup adorned the rich legacy of Rajasthani folk music and dances. While both dancers looked graceful on stage, their natural camaraderie stole the show. “I know we share similar roots. Gypsies were jogis in India who wandered from place to place to entertain people. We, as Kalbelias or snake charmers, are also travellers. When I visited Spain last year, everybody liked my performance. I felt no different there,” said Asha minutes after her performance. She took a break to feed her baby and came back for a chat. “Ours is a dying culture. We are not able to generate enough money to sustain throughout the year. I wish there were more festivals like this so that we can also pass on our traditions to the next generation. In today’s day and age, nobody wants to be a lone traveller in search of food and money,” she said.

If Karen Lugo’s sensuality won a million hearts, the ladies’ man turned out to be award-winning Flamenco dancer and choreographer Daniel Navarro Munoz. The tall and lean guy happily posed for selfies after each of his performances. “I have come to India for the first time and I’m just loving it,” he told us in his broken English. On our request, managing and artistic director of the festival, Roberto Nieddu, happily agreed to translate the conversation. “We speak different languages but in the end, it is so easy because we all understand the language of music. I have been here for a week for rehearsals and our rhythm is so natural. When I do Flamenco, my body dances as well as acts like an instrument,” he said.

Flamenco dancers are admirers of beats and rhythm and get naturally attracted to different instruments. “As a dancer, I’m always open for inspirations. When I first saw a Khartal, I jumped off my feet. I wanted to know more about that sound. Dance is always about research, new movements and sounds. The moment I saw Kalbelias performing, I decided to assimilate their trademark hand movements,” he said. Male Flamenco dance is more about masculinity and power while women dancers exude beauty and femininity. But overall, “it’s about personality”.

“Improvisation is really important. Flamenco has a lot to do with your inner personality and what lies within you. It’s always coming out through your performance,” said the artiste, who practises at least three hours a day when not touring. The 35-year-old performer also organises classes during his concerts and hopes to organise one in Jodhpur next year.

Another much sought-after artiste was legendary Latin jazz pianist Chano Dominguez who also concluded the festival with a rocking concert. “For me to play here is very exciting. Rajasthani musicians are amazing and this kind of collaboration is new for me. When you start to play with musicians from other territories, you have to be adaptive and alert. The spirit of music must come out. Rajasthani music is naturally close to Flamenco music,” he said.

Born in Cadiz in 1960, Chano started playing Flamenco guitar around age of eight before moving on to the piano. But all these years, he was not exposed to Indian music until he took part in the maiden show of this festival. All he knew were “Ravi Shankar and Zakir Hussain”. “I have always heard about Indian music but it was last year that I got my hands on it. During my next visit, I want to go to south and learn tabla and sitar. I also want to learn ragas,” he said.

He also hopes to cut an album with local artistes. “It will be too early to commit to it but if I come back here again, I might like to create something with local artistes here.”

(The article first appeared in The Pioneer)

I'm an insecure artiste: Amitabh Bachchan

2015-08-13T17:38:00.002+05:30

Amitabh Bachchan hates rating his performance and expects his co-stars to deliver equally well. In a freewheeling chat with Karan Bhardwaj, he talks aboutShamitabh and healthy competition within the film industry

Forty years ago, social media or aggressive publicity didn’t exist, but you have very well adapted to these new-age mechanisms...

The media has changed in decades so has the technology. It has facilitated us to be able to communicate and connect with people in multiple ways. It’s a matter of choice whether one wants to use technology or not. I do contribute to social media and blog everyday. I have finished 2,484 days blogging while Twitter feeds have crossed 1,756 entries. Facebook stands at 855th entry (smiles).

How do you manage time?

I don’t struggle to get time. But I don’t do it on mobile which is more instant. I come online when I am done with work during night.

Shamitabh brings forth ego and jealousy that exist in the film industry. Have you ever played on ego?

I have never believed in ego. I don’t think I am great or unparalleled. Ego plays a role when I start believing that I am a great actor. I don’t know if it exists for other people but it certainly doesn’t exist for me. One can always have healthy rivalry.

Is Shamitabh tribute to your voice?

In story, it may look like that but that’s not the case. In film, the character of Dhanush gets my voice which is loved by people. But it would be erroneous to state that Shamitabh is dedicated to my voice. I don’t understand why anything special has to be attested with one’s voice. If you are a professional actor, you have to be your best at all fronts. I don’t know why my voice is given special attention. The audience has the right to appreciate or criticise you.

Were you ever insecure?

There’s insecurity even today. Everyday comes with insecurities. You go to bed thinking ‘kal kya hoga’, whether I would be able to do a particular scene properly or not, whether people will like me or not. Insecurity is an ongoing process. I admire people who are not insecure...I wish I could be one of them. But I know I won’t.

R Balki has redefined and challenged you with every movie, be it Paa or Cheeni Kum. How do you meet his expectations?

It’s wonderful. I always wonder where he gets all these thoughts from. But I know he is an intelligent man and thinks differently. He has always brought something fresh for me. It’s good for the audience as well. People are fed up of Bollywood cliches. There’s a lot of patronage towards new ideas and new cinema.

But how do you manage to reinvent yourself each time?

I don’t go out looking for opportunities to reinvent myself. I have been fortunate to get roles which allow me to do things differently.

Which has been the most challenging movie in your career?

I hate rating a movie. I hate comparing performances. We are asked to give our maximum to everything offered to us. To our mind, that’s the only rating that’s important. For me to say that Paa or any other movie is the most challenging film would be wrong. Every movie has its own permutations and combinations. It has its own moments. How can you rate movies, I wonder.

You never overshadow your co-actors on screen. You always let them shine standing next to you even if you have to downplay yourself for that. How does it help you?

If your colleague or co-star is not doing well, then you are not doing well. I may say a line beautifully, but if your co-star doesn’t react to it with equal aplomb, then it’s a waste. For me to be appreciated, I need the other actor to do equally well in a scene.

You have also sung a song in Shamitabh, composed by ilaiyaraaja.

I’m a very bad singer. Situations in the movies sometimes demand so I sing. But singing is a huge tension for me. I never went to him for recording. He recorded it in Chennai and sent pro tools to me in Mumbai. I recorded it myself in a small studio and sent back to him. I couldn’t dare sit with him.

Originally, shah rukh khan was approached to play dhanush’s role. Why didn’t he do it?

We were having discussions with Shah Rukh long time back but it didn’t work out. There were a few reasons why he couldn’t join us. One day, I casually mentioned Dhanush’s name to Balki, to which he agreed. Dhanush is also an exceptional artiste.

(http://www.dailypioneer.com/vivacity/im-an-insecure-artiste.html)

I'm my own critic: Shraddha Kapoor

2015-06-05T13:04:00.000+05:30

Shraddha Kapoor takes criticism to her head, not heart. After delivering box office hits like Aashiqui 2, Ek Villain and Haider, she tells Karan Bhardwaj why she ABCD 2 is her most challenging film

It's her girl-next-door predictable image that has almost bracketed Shraddha Kapoor as a vulnerable, weak or frivolous girl on screen. But she is expecting a breakthrough with her next ABCD 2. After all, the movie is all about strength, endurance and impeccable dance moves, everything Shraddha has not been associated with on screen. But she is elated. Bouquets are already pouring in, thanks to her strong screen presence in the promotional tracks of ABCD 2. “It’s great. I didn’t know I would be able to pull it off,” she beamed as we spoke over the phone. Directed by Remo D’Souza, a choreographer himself, ABCD 2 explores journey of an Indian dance troupe, a motley assortment of boys and girls who come from the backstreets of a Mumbai suburb. It also stars Varun Dhawan. “Earlier, I was apprehensive about doing it. I was unsure if I would be able to get into the skin of a professional dancer since I do not have any formal training in dance. So I myself offered auditions to Remo sir. I wanted him to judge on the basis of the test. The reason why I wanted to do this film was very simple. I was always interested in dance but never got an opportunity to do it on screen,” she said. The actress credited the director for being patient and helping her improve on the sets. “Remo sir noticed that I was enthusiastic and I really wanted to do it. It was his conviction that encouraged me to take up this challenge,” she said, adding, that her fans would be shocked to see her performing those “tough moves.”

ABCD 2 has been a roller coaster for her and it has changed her life’s perspective as well. Contrary to her protective upbringing, she opened up with dancers and spent quality time with them on and off the sets. “We rehearsed a lot with the troupes. Remo sir wanted us to spend maximum time with the dancers and understand their journeys and just become one of them. The movie is about a team work and is not based on an individual’s story. There are more wide shots than close ups to focus on the group as a whole. These dancers are passionate and dedicated professionals. They really inspired me. The experience got me close to dance,” she said.

As expected, she also survived many injuries on the sets. “That was a ritual,” she chuckled. “The training was aggressive and exhausting. But this process has been special. It was like covering two separate disciplines in one spectrum. It’s really difficult to be able to learn dance and act simultaneously,” she said.

Shraddha has been a part of blockbusters like Aashiqui 2 and Ek Villain but has been criticised for her acting skills. But the 26-year-old doesn’t take criticism to her heart. “People would say different things. It feels good when people praise your work. But sometimes, they criticise you without any logical perspective. I have been critical of my own performances. If I am not satisfied with something, I would admit it humbly. That’s the way I’ve grown up also. I always welcome constructive criticism. I take feedback seriously if it makes sense to me. But I take it to my head, not heart,” she signed off.

(The article first appeared in The Pioneer)

EXCL: CLOSE TO HER HEART

2015-05-28T16:11:00.000+05:30

Susan Sarandon is known for her powerful roles as much as her strong views on politics and humanitarian issues. The Oscar-winning actress talks to Karan Bhardwaj about her crusade in favour of Haitian HIV-positive refugees in the US

Susan Sarandon is a firebrand actress and an activist. Spotting her at the treacherous hilly areas on the outskirts of Kathmandu was not a surprise. On her week-long trip, the Oscar-winning actress is visiting tourist destinations in Nepal to help revive the dead tourism in the country, which was worst-hit by the recent earthquake. She also inaugurated one of the houses built by the Live to Love International foundation, set up by the Gyalwang Drukpa. During her adventurous trek, Sarandon, known for movies like Thelma and Louise, Dead Man Walking and Bull Durham, spoke about her staunch belief in justice and what makes her support certain causes. Excerpts:

Are you a religious person?

I’m definitely a spiritual person. I was born as a Catholic and I just couldn’t accept the exclusivity of Catholic churches, or in fact, any other religious place. They become guarded institutions and believe that they are the only representatives of God. In this process, they develop hatred against other religions and indulge in violence, even murdering people and humanity. When you look at the original thoughts of the messengers of God, you would realise that they have been misinterpreted in modern times. Their thoughts have been used to spread violence, which is so wrong.

So when did you realise you had problems with religion?

I first got into trouble when I was in third grade at a Catholic convent school. The nuns were teaching us that the only church where you can get married in are Catholic churches. I was just seven or eight but I didn’t understand how Joseph and Mary got married since Jesus couldn’t make it before their wedding. That was the beginning of the end of Catholicism for me. And then I went to a Catholic university and read more on how Bible was used for political purposes. It became clear to me that religion was not for me. We have gone pretty far from the Jesus who embraced prostitutes, lived under bridges and drew the money makers out of the temples. He would definitely not have supported the Iraq war or throwing of homosexuals out on streets. He would not treat nuns in a fashion as churches do.

On the other side, I know there are many well-intention nuns and I have met so many of them. I have played Sister Helen Prejean in Dead Man Walking, so I know how all this works. I know there are great Christians and Muslims who use purity of that religion.

You are fairly known for political activism and dedication to humanitarian causes. What drives you?

From the time I was little, I was very aware of issues that hounded me. You know, I used to change dresses of my dolls so that one doll doesn’t get to wear nice dresses all the time. I always had this acute need for justice. And when I started growing up, issues were very clear to me. The media hadn’t become very supportive yet. In 1990, more than 50,000 Haitian Americans, specially men, marched across the Brooklyn Bridge to City Hall to protest the action of the Centers for Disease Control and the American Red Cross. These organisations had ruled that no Haitian could donate blood because all Haitians were at AIDS risk. Yet not one newspaper reported that. What I am basically saying is that a lot of brutalities by the state and police are not even covered in mainstream media. So you have to pull up your socks and educate people about what’s going on.

You have effectively used your status as a tool to give voice to powerless people. But you were into protests even before your celebrityhood.

It made sense to me. I was arrested due to protest in high school for civil rights. I was not a celebrity then. You could actually see what was going in the south during the civil rights movement on TV and you could see that it was wrong.

As I became known, inadvertently and unexpectedly, I was asked to speak on different issues. The first time I spoke on national television was during a television show where Marlo Thomas also participated. There were around 13 mics before me. Thomas told me that I have to speak because no matter what I am going to say, this would highlight the issue.

I stood in protest when Haitian refugees were being held in Guantanamo Bay by the American government. I was arrested for reading out letters from the prisoners who were dying because they were killing themselves. When I won the Academy Award, I knew I had to use that time to embarrass the lawmakers to get these people out. It was a huge thing and everybody got crazy. Finally, they got out because the lawmakers were embarrassed.

You have played strong characters in your movies inspired by real life incidents. How have such experiences influenced you?

I played Sister Helen Prejean in Dead Man Walking. In real life, this lady is amazing. We still work together. She has been a spiritual advisor for a number of people who have written to me from prisons. We recently spoke when she was testifying on behalf of Boston Marathon bomber. I am inspired by her and the women who she works with. It gives me opportunity to remember how much time it takes to help people. It takes so much to vindicate innocent people on death row and to help their families. It goes on for 15 or 20 years.

I did a voiceover series called Death Row Stories which was really fascinating. The documentary was educative and gave me hope. I got to learn about crazy and amazing people who spent their entire lifetime to get just one person out of prison who had a bad trial. They should be canonised for such work.

You were in India last year. How was the experience?

Being a UNICEF Goodwill ambassador, I got an opportunity to travel to a lot of places in India. I could go to people’s homes and speak to women and their children. There were a lot of educational programmes and nutritional campaigns. I had also inaugurated the 44th India International Film Festival in 2013. Goan experience was chaotic but it was a great ride. I haven’t been able to visit Kerala yet. Padma Lakshmi is a friend of mine and we have been talking about a trip there. I do want to come back to India.

India’s Daughter, directed by Leslee Udwin, was banned in India. What do you have to say on that?

It’s surprising that they banned the documentary. I don’t have much information on that but I don’t think people who were advocating the ban on the documentary were afraid of showing women as victims. It seems to me that they didn’t want men to look like jerks. And that’s another example of protecting the men.

Given your experiences in life, what would you say to youth?

I’m learning from my children. They have a different world than what I had. I’m learning from young leaders. I think kindness is one of the most important virtues. Growing up is difficult but being kind is equally important. You don’t have to follow rules and find new rules for yourself. Today, instant communication has got people closer. So young people have support from the world in whatever good or bad they go through.

(http://www.dailypioneer.com/vivacity/close-to-her-heart.html)

CELEBS A BEACON OF HOPE FOR NEPAL’S TOURISM

2015-05-28T16:05:00.000+05:30

KARAN BHARDWAJ/KATHMANDU

Clad in a black fitted T-shirt and a pair of loose trousers, Hollywood veteran Susan Sarandon trekked the dusty, sloppy road leading to one of the most devastated sites in the Ramkot Village of Kathmandu district. Around her were the mountains of debris that once constituted the houses of hundreds of villagers. While meeting and chatting with the earthquake survivors, who have lost almost everything in the horrifying incident including their homes and people, the Oscar-winning actress got teary-eyed and urged the global fraternity to come forward to the rescue, just by visiting Nepal, which still has some virgin spots, and giving a leg up to its tourist economy. Hope tourism and not disaster tourism is the new slogan in Kathmandu that’s attracting global ambassadors.

“Tourism is one of the major sources of Nepal's revenue and it has got a major blow. All the tourists have gone back. I think the worst is over and we should visit the country and heal their suffering. I am going to stay in Kathmandu for a few days and see the best of the city. And there's much that is left intact and beautiful, so many peaks that can be climbed apart from the Everest,” she told The Pioneer. Sarandon further collaborated with the Drukpa’s Live To Love International Foundation to consolidate relief work and promote their effort of building earthquake-resistant shelters.

“People are so engaged with their day-to-day activities that they do not realise what the earthquake has done here. Being a celebrity, I am just a flashlight who can seek attention from the West,” she said, adding, “We should think of Nepal not as an ongoing disaster but as a country that has found its way back and has many monuments that haven't fallen and many beautiful areas that can be still safe to trek.” There are important tourist spots like Pashupatinath temple, trekking areas in Manasalu, Langtang and Rolwaling which have survived safely. Last week, Malaysian actress Michelle Yeoh Choo-Kheng also participated in relief work.

Experts believe that it will take millions of dollars to bring Nepal’s tourism sector back on track, specially for its promotions and rebranding. In a fresh move, the Government of Nepal has formed the Tourism Recovery Committee (TRC) to study the impact of the earthquake on tourism. The Hotel Association of Nepal and Nepal Association of Tour and Travel Agents are also coordinating with the private sector to offer incentive packages to tourism businesses to help them in recovering damages and devise marketing strategies. Besides, there are charity tours by local and international NGOs where famous personalities are trying to lift the sad mood of the nation.

Another initiative “AdventureWeek Rebound Nepal” has been launched by the Adventure Travel Trade Association and the Outdoor Industry Association to highlight the ongoing support the country would need as it recovers from last month’s disaster. The initiative will have a group of tour operators, travel agents and media representatives travelling to Nepal this summer to learn more about tourism options. This includes “a few really smart industry gurus” who have expertise in destination recovery, tourism infrastructure, international connectivity and marketing.

The horrifying incident has crippled infrastructure but hasn't managed to kill the sheer zest of the Nepalese people to bounce back. An Indian doctor told The Pioneer how among the hundreds of victims she had examined in the outlying areas, she had found only a 96-year-old with high BP and hypertension. The Nepalese are now aiming to get back on their feet with all the help and assistance that is pouring in from different corners of the world. In Ramkot's vicinity, the kung fu nuns of the Druk Amitabha Mountain nunnery are camping in villages to rebuild homes. The nunnery, established by the 12th Gyalwang Drukpa, the spiritual head of the 1,000-year-old Drukpa order based in the Himalayas, is also inviting international celebrities to give a boost to rehab efforts.

An evening ride a month after the quake showed Kathmandu trying to stand up valiantly. Thamel, one of the busiest tourist districts, where Dev Anand famously shot Dum Maaro Dum, seems deserted. But a general store and artefact shop are trying to break the gloom. The nearby foreigner's favourite, Freak Street, has nobody to talk to. The popular book stores, bakeries, antiques' shops and restaurants dare to open shutters but have a self-imposed curfew of 7 pm, fearing aftershocks that mostly rumble in the night. The Durbar Square, which is now a pile of debris, has been barricaded. Local residents are staying in temporary shelters in open parks. “The Freak Street was an exciting habitat for foreigners. But with the devastation and its aftermath, everybody has gone. Our business is almost nil,” said Prem, its 31-year-old owner.

The national tragedy has affected the education sector, too, damaging many institutions. Most schools and colleges are shut and there's no immediate plan to re-open them. Part-schools and part-psychosocial treatment centres have been opened in different areas. Many NGOs are helping people come out of trauma. Marking a one month-anniversary, hundreds of Nepalese organised a candle-lit vigil on Monday. They formed a human chain around the remains of the iconic Dharahara Tower, echoing their resolve to learn from the lowest point in their nation's history.

Saili Tamang, a 77-year-old widow from Ramkot village, has every reason to be disillusioned. The quake took her son, house and squeezed whatever little she had for her livelihood. However, she welcomed us with smile. “We cannot race against nature's fury. I have suffered an irrecoverable loss but it is the time we get up and reclaim ourselves,” she said firmly, her voice trembling in pain.

She along with several other villagers are camping near their houses in an open square field. And are making use of trash and tin sheets to make their tents. “We have nowhere to go. The relief work has been insufficient. We are dependent on the charity organisations that come now and then with some food and eatables. They are helping us out with shelters too.”

(http://www.dailypioneer.com/todays-newspaper/celebs-a-beacon-of-hope-for-nepals-tourism.html)

EXCL: I'm a reluctant actor: Kamal Haasan

2015-05-11T14:25:00.001+05:30

Kamal Haasan’s latest, Uttama Villain, delves into stardom and its mortality. The legendary actor tells Karan Bhardwaj that he never took himself seriously and that helped him in pushing the envelope

Meeting legendary actor Kamal Haasan could be a revelation. The 60-year-old superstar is full of lessons and is not shy to share them. His humility and simplicity, for a minute, will shock you but that’s the biggest asset he possesses. He defies stardom but strives for excellence in his performances. Despite being one of the most popular and talented actors of the Indian film industry, he doesn’t take himself seriously. His strength comes from the fact that he wants to be one among us. That’s perhaps why we could extract his candid comments on life, career and controversies that often surround his movies. Here in town to open his retrospective at India Habitat Centre’s ongoing film festival, he spared some time with us. He explained his evolution as an artiste and why Hindi cinema is not classified as ‘world cinema’.

India Habitat Centre has organised a retrospective on your work. What do you see when you look back?

There were stars and actors who have been bigger than me and they all have seen life before cinema, that is struggle, sufferings and training. But I opened my eyes straight into cinema. I started working in movies when I was barely three and a half. So all that I know and understand about life and the world is through cinema. I don’t know whether it is right way to learn about the world but I have no complains. Fortunately, I have been a film buff too. It rarely happens. It’s like I am living on the mountains and I love them, too. When I look at my life, I think it is the most charmed life one could imagine. I would have thought of an impractical life but never a believable scenario where sweat, hard work and success go together. I have known people who burnt midnight oil but the return that they got was dismal. I have been lucky to meet the best of gurus who helped me obtain a meaningful perspective about life and work, and how to constantly challenge my capabilities. If I try to replicate that era for my daughters now, I won’t be able to afford it with all the money I have. But it all just happened with me.

You used the power of cinema responsibly by playing diverse characters that touched social chords at many levels. When did you realise that you were actually making a strong social commentary through most of your films?

I realised the strength of the medium much later in my life. As a teenager, I was intrigued by the charm, intricacies and technicalities of cinema. I had an open playground for me to try out anything and everything. At one time, I thought I had no opportunities and I was just cribbing. But coming to think of it, I have hit on all the right pegs, meeting right kind of people and doing right kind of jobs, without even knowing that I was doing it. Today, I am grateful for having landed myself in those jobs. Like I was an assistant choreographer. So I got to set up shots. It initially gave me an understanding of mechanics of movie sets. And the process of learning is never-ending.

You also donned many hats of being a musician, screenplay writer, producer and director. But you took writing quite seriously.

I became a writer by need. I had to save myself. Scripts were not getting better. The good writers, who were limited in number, were busy writing for others. So out of requirement, I went into writing. It became an additional profession for me. Now that I have written 25 movies, it seems like a huge learning. In fact, sometimes unlearning one job and getting into another seems like a more difficult job.

Your latest movie, Uttama Villain, deals with super stardom and mortality. What is your take on stardom?

For me, stardom is something that I didn’t work hard at all for. My stardom thrived in spite of my neglect. I have never been careful of doing certain things because I am a star. I have always challenged that position. I was never comfortable being a star. My position got stronger by experiments that I attempted. It’s a risky game but I played it the right way.

Despite being a mass hero, you broke the mould with every film. How did you manage to remain people’s star by challenging the conventional formats of storytelling?

I achieved that by simply being a member of the audience rather than believing in my own press. I became Kamal Haasan’s fan as well as critic. Being critical and admirer of your own work is like two sides of the same coin. Who else can be more loving and judgmental about your work than you? So I have always taken it with a pinch of salt. I have never taken stardom too seriously; never I have arrogated myself to call myself a star. I have never ducked people for questioning me just because I was full of myself.

Where did it all come from?

There are many factors. I have grown up watching bigger stars than me. I have seen human side of these actors. They were legends even as I met them. It was contra-indicative what you view of them from outside and what you find them in real life. I think I had my lessons on first-hand basis from these masters. Finally, they all aspired to be normal people. In their private moments, their greatest endeavour was to be simple people. Kailasam Balachander was the biggest influence in my life because he was my guru. Then, Sivaji Ganesan and Nagesh. They all influenced me not because I was close to them but they were truly great.

You have a knack of pulling up multiple characters in a single venture. How does that work?

I have had predecessors like Sanjeev Kumar, Sivaji and others who achieved that feat. The fact of the matter is that I had a lot of time before me to learn. For instance, everybody thought Ek Duuje Ke Liyewas my first film. It was my first Hindi film but in totality, it was my 101st movie. So ironically, it was a step to second century. Coming back to your question, I think my strength lied in storytelling. I was a reluctant actor. I was more interested in telling stories. Slowly I realised that people liked the way I was narrating the stories. So I started writing screenplays for most of the movies that I was acting in. Eighty per cent of the films that I did had my writing inputs. So for me, research and characterisation would begin even before the motion. There was also a time when I was doing only one film at a time. When I came to Hindi film industry, there was a trend of doing four to five movies together. Every big actor including Amit ji had their platter full with multiple projects. Actors would feel insecure if they were doing anything less than two movies. But I broke that mould 25 years ago. In 1985-86, I was doing one film at a time. That’s how I was able to do films like Mani Ratnam’s Nayagan or Pushpak.

Today, young film-makers have blurred the line between offbeat and mainstream cinema. How do you look at the new wave of cinema?

I’m glad that distinction between offbeat and commercial cinema is fading today. For me, every movie is art. And art that sells tickets is commercial cinema. The change is happening slowly but we are moving in the right direction. Young film-makers are not listening to trade pundits and take less interest in money bags. I saw Highway recently. I liked the way it was made. Their approach was modern and it had certain traditional values of good cinema. I’m happy that such movies are being made.

Your movies like Hey Ram, Thevar Magan and Swati Mutyamhave achieved prestigious awards abroad. But world is yet to acknowledge Indian cinema. What do we lack?

Our movies are made just for a day. They have to finish for that evening. They don’t have shelf life, exactly like fast food. But that’s changing now because film-makers want their movies to live longer. What’s holding us back is mismanaged commerce. You cannot just make a movie for one state or region. Time has come when we use what is considered to be urbane as our strength. Let’s confess that this is an English speaking country. If we understand that, then we will have a very powerful tool to talk to the world. English has conveniently over the time has become mode of the communication in India. There’s nothing to be ashamed of that. There’s no need to be parochial about it. We can be parochial about Tamil, Hindi or Telugu. China today is trying to learn English and we are ahead of them for 100 years. So better we realise that and inculcate it in our cinema.

What kind of impact would censorship and impositions on free speech have on the next generation?

The next generation will not be as kind as we are to these moral policing. They will just knock their hats off and march on. I can already see it happening. The only thing is that we cannot be complacent or arrogant about these impediments to freedom of speech. We can be right but when demand that right to speak, we must own up to the responsibility that we have. Freedom of speech is not just any expletive at any corner or at any assembly that we decide. That’s juvenile. I would say that I am responsible and leave that responsibility with me.

Your movies, too, face harsh reactions by certain sections of society. How much does that bother you?

That’s what I said. I’m ready to own up responsibility for what I create. If not at 60, then when do you expect me to become responsible for what I do? As far as controversies go, they don’t matter to me because they are silly. I would rather have come discerning and deserving adversaries. Some people are just taking a free ticket ride on a profile that they think is high. So I am not bothered about them.

Your daughters, Shruti and Akshara, are finding their footing in the industry. Do you interfere in their career decisions?

Whatever Shruti has managed is only because of her own efforts. There’s no guidance from me. The only time I helped her was when she wanted to do music. So now if their choices come out wrong, only they will own them. I don’t like pulling wires for them. Shruti is very capable of managing herself. She is critically analysing herself which is good. We do have conversations but there are no planning sessions. Shruti tells me if she is troubled about her position and we discuss that. I particularly like the way she is not happy with all the success that comes her way. She wants to do more in terms of excellence. I think somewhere it is kicking in them.

(http://www.dailypioneer.com/vivacity/im-a-reluctant-actor.html)

EXCL: Switchfoot on band's philosophy, music and debut in India

2015-03-27T15:26:00.000+05:30

Grammy-winning band Switchfoot will make its Indian debut with a series of performances. Lead vocalist Jon Foreman talks to Karan Bhardwaj about inspirations behind their soulful lyrics and how his solo projects help him rejuvenate

They celebrate love over hatred, faith over religion and hope over despair. Switchfoot’s soulful lyrics can bring even a dead soul back to life. The San Diego-based band that comprises singer/songwriter Jon Foreman, his younger brother (and co-writer) Tim Foreman on bass, drummer Chad Butler and multi-instrumentalist Jerome Fontamillas shot to fame with their popular tracks in A Walk To Remember. The band then commenced their journey to success with hits like We Are One Tonight, Need To Live among others. The alt-rock sensation is touring India for the first time with Micromax Vh1 Rock Rules and will be performing in Mumbai, Pune and Gurgaon at Hard Rock Café on March 25, 27 and 29 respectively. Excerpts from an interview:

Jon, you came to India once as a tourist. But why did Switchfoot keep away for so long?

India is far away from our home in California — distance kept us away. The first time I came to India I was amazed by the people and culture. I went home with more questions than answers. I’ve been longing to come back ever since.

How do you find performing in India?

It would make sense to me — friendships come from these establishing moments and more folks follow suite.

Is your India tour going to be part of any of your EP or any documentary?

Maybe — I take pieces of where I am as my inspiration for art, music. I’ve never been anywhere as vibrant as India.

You have been together for years now. How challenging has it been to stick together and resolve creative clashes? Also, how do independent shows and tracks help you retain a solo identity as a musician?

I have the incredible privilege of calling Tim, Chad, Drew and Jerome my band-mates and friends. I love these guys. We challenge each other in music and beyond. They have been amazingly supportive of my solo stuff which in turn allows me to feel rejuvenated when I return to the band.

How do you keep your music fresh and relevant?

I look for questions — for places of wonder and doubt, fear and joy. These are the places where the kid inside me can run free and write something fresh.

What drives your concepts of lyrics?

I am always looking for hope. The songs are often looking for light in dark places — reaching for faith in a cloudy sea of doubt. But a song can be a vehicle to get somewhere new and the live show can be transportation as well. On a good night you exit the room in a different state than how you entered.

You are a Christian band. How do you reflect faith in your music?

Faith has much more to do with actions than words. I try to live my life to the glory of my creator — my songs reflect that struggle and the grace I’ve found along the way.

Vice Verses was a comment on race of life and presence of God around. Can you tell us how the idea germinated and how did you sail through the philosophy of the album via lyrics?

When I was in college I loved to study philosophy — it felt like the bones of what it means to be human. I love to read Kierkegaard or Pascal or Nietzsche or whoever. Vice Verses was an album of polarity — life/death, faith/doubt. These are the margins where my true questions come to life.

Fading West got your fans closer to your working style. Tell us about your experience of making it. Is it still continuing?

Fading West was a movie we made to tell a larger story than a three-minute rock song. It was an amazing experience that brought us close together as a band and let people backstage see a bit more of what we’re really like. It was a ton of work through — trying to draw the line between what is personal and what is public. I’m not sure we’ll ever do it again.

Tell us about your musical and literary influences.

(Thinking) I love Miles Davis in the morning. I grew up on the Beatles, Led Zep, The Police and Bob Dylan. I like to read Herni Nouwen, Lewis Hyde, David Dark, Dietrich Bonhoeffer...anyone who challenges my comfort level.

Would you like to surf in Andamans or Goa?

I would love to surf in India — surfing is another way to express and find myself. It’s an amazing thing to stare at the horizon fully aware of your lack of control.

(http://www.dailypioneer.com/vivacity/play-to-surf.html)

EXCL: National Commission of Women lacks teeth: Maneka Sanjay Gandhi

2015-03-26T12:13:00.003+05:30

Maneka Sanjay Gandhi, Union Minister for Women & Child Development, speaks toKaran Bhardwaj about setting up rape crisis centres and curbing trafficking at railway stations

How will the new scheme of Beti Bachao Beti Padhao help improve condition of women in India?

Beti Bachao Beti Padhao is a much larger programme than simply saving a girl child. Some 2,000 girls are killed in the womb almost everyday. The main reason is people’s psyche that is embroiled in an old age adage — beti paraya dhan hain (a daughter is someone else’s asset held in trust.) So even if she is being killed, that doesn’t account for the biggest problem in life for most people. In order to change that, we have to change people’s attitude and tell them that daughters belong to them as much as a son. Second, we have to get totally rid of the dowry system. The moment a girl is born, the family starts thinking about dowry. That has to go. The third objective is women’s safety. These are some of the areas that we need to work on. Under this programme, we have taken up 100 worst districts. District magistrate of respective districts have been put at the centre of functions. They have to work out a programme with our help. There will be a combination of media, where we have to make women heroes in every reporting against dowry, abortion and molestation.

If we succeed in these programmes, we will be able to change the attitude. For that, we are already coordinating with local media and sending vans to every village. Once institutional deliveries actually become a reality, we will be able to exercise some control over the problem.

What about violence against women? What is your ministry doing on that front?

The basic challenge before us is that we need to make our women feel strong and empowered so that they can fight for their own rights as well as safety. We are working on a number of directives for this. First, we are setting up one stop crisis centres in each of the States. To begin with, one such centre will be established in each of the state and very soon we will be expanding it to one centre per district. This centre will provide legal, medical, psychological and social police assistance to any woman who is suffering violence or is fearing violence in the form of stalking. These centres are also being linked to a dedicated women’s helpline which is being developed in collaboration with the Ministry of Home Affairs. This scheme is being fully funded through the Nirbhaya Fund. Once, these centres are in place, they will become symbols of women empowerment.

Second, we have sought approval of the cabinet to the amendment of National Commission of Women Act so as to hugely strengthen the commission. We feel that until the commission is given sufficient powers including the power to summon, search and impose fine, it will not be possible to make a difference to conditions of those women who approach the commission for assistance.

We have also requested all the state governments to reserve 33 per cent of posts in police organisations for women. So far, only Gujarat has made this provision. I strongly feel that having one-third of the police officials as women will on the one hand automatically sensitise the entire police force on issues related to women as well as send a strong sense of security to women in the country and they will no longer be hesitant to approach the police in the event of any incidence.

I have also propounded a new concept to the home ministry of appointment of young girls as special police officers (SPOs) to serve as a bridge between the community and regular police stations. I have offered to work in partnership with home ministry to develop standard operating procedures for the appointment of all the SPOs. Once accepted, we will like to create this institution in all states, especially because the SPOs work on an honorary basis and there will practically be no expenditure involved.

Children remain the most vulnerable section of our society and trafficking is a major concern. What is your ministry doing on this front?

We have discovered that about four to five lakh children pass through railways every year and these children are either runaway or kidnapped or trafficked. In fact, railways happen to be the most frequently used mode of transportation of such children. We have been working closely with the ministry of railways and have launched a major initiative to provide safety and protection of these children. We have developed a standard operating procedure to identify, rescue, restore and rehabilitate these children. To begin with, this scheme has been launched at 20 major railway stations where NGOs identified by the Ministry of Women and Child Development will take the responsibility of these children. They will be closely working with the railway stations authorities as well as railway police officials for this purpose. We are also directing to put signages at the railway stations as well as in the train coaches and regularly make announcements so that all passengers can also assist in this initiative. The number of railway stations will be expanded as and when we are able to identify more NGOs for the new stations. We will also provide a dedicated toll-free telephone line (1098) which will be established in all telephone modes to report the presence of such children who need care and protection within the railways. We are also providing such telephone booths which are child friendly so that children can themselves also call and seek help in case of any emergency.

Tackling malnutrition is one of the major schemes of your ministry. Are you looking at any new approach to tackle this problem?

We have a 40-year-old programme called ICDS where we provide supplementary nutrition to children below six years as well as pregnant and lactating mothers. Despite the fact that this scheme is universally available, the figures of mal-nutrition continues to be a cause of very serious concern with the government. I have done some new thinking on this issue and we have developed the contours of a new national mission of malnutrition.

The problem of malnutrition in children actually starts much before their birth. Under the new mission, we will create a system for identifying pregnant women as well as malnutritioned or under-nutritioned children. Once identified, they will be provided supplementary nutritional services as well as the facility of regular check-ups through the Anganwadis. We will be using technology to do a real-time monitoring of these women and children and also maintain a centralised database. Through this mission, we expect an ongoing reduction of instances of malnutrition in the years to come.

(http://www.dailypioneer.com/vivacity/plans-for-a-better-future.html)

EXCL: I'VE SURVIVED THE WORST: KANGANA RANAUT

2015-03-26T11:54:00.002+05:30

Kangana Ranaut, who has bagged the national award for the best actress this year, says her best is yet to come. In a freewheeling chat with Karan Bhardwaj, she talks about pushing the envelope in the industry, apprehensions about marriage and her unrelenting spirit

It’s a rare occassion to meet Kangana Ranaut, the new queen of Bollywood, on her birthday. And a day later, she gets the national award for her stellar performance in Queen. But if you expect her to relish in high spirits, then let’s tell you that she is only game for work. On the day she turned 28, she ditched her prior plans to party in Mumbai with friends and reached the Capital to launch the poster of Tanu Weds Manu Returns (TWMR). “There are many out there today who wants to be in my place,” she muttered humbly. When you meet her, you meet a committed actor and not just another top damsel of the tinsel town, who’s more concerned about her looks than what she says. She would rarely smile, listen every question patiently and would never manipulate her thoughts. She stayed honest and serious throughout. “I’m usually cheerful. I do not laugh or giggle all the time,” she said.

She talked about the sequel, her apprehensions about marriage and why female protagonists are paid lesser as compared to their male counterparts. Excerpts:

After four years, Tanu Weds Manu has got a sequel with its original crew. Was it like a perfect homecoming?

Definitely. When you work with people who you do not know, you take time to establish a rapport and get into a comfort zone. With Tanu Weds Manu, it’s like coming back to a family. We were not totally out of touch after the movie. We used to meet and call at times. So we created a special bond. When we started working on the sequel, it was like a family get together. We immediately struck a chord and realised how time just flew by.

You were not a star when Tanu Weds Manu happened. How did it come to you?

Madhavan and I were supposed to do a movie which was not taking off. While I was going to US, he called me and said there was this great script. So I heard it on my way to the airport. It remained close to my heart because it came at a time when I didn’t have much work. The success of TWM surprised the entire industry. Four years back, a romantic film like that would not rake in moolahs. It was like a case study for all of us.

So was it different shooting the sequel post the success of Queen?

It was different in terms of comprehending the characters. Four years back, I just followed the instructions and didn’t understand the depth of my character. When I look back, I feel I could have done much better. This time, I have had my own expectations. Also, Aanand L Rai (director) said that as a friend, he would have to offer me something more complex and challenging than Queen. So here we are.

Which character do you find closer to your personality, Rani from Queen or Tanu from TWM?

I have played both the characters in my real life at some point of time. I could relate to Rani as I came from a humble background. I belong to Himachal Pradesh and didn’t have much exposure. I didn’t have godfather and made my own way in Mumbai. I have been a rival like Tanu. I have never succumbed to situations or people’s diktats.

Since you are known to live your characters thoroughly, how challenging was it to play two contrasting roles in the same movie?

TWMR is the most challenging film of my career so far. It was really draining. I just put out everything I know about life, people, acting and characters. Both the characters are very strong and different from each other. Usually, double roles are supportive of each other but in this movie, they are against each other. At one point in the movie, they are like protagonist and antagonist. I had to have conflicting personalities for that. From ideologies to body language, everything had to be conflicting. They were like two different extremes of mine. It was exhausting.

Aamir Khan also celebrated his birthday with media. Is this just a co-incidence or you are getting inspired from him?

It’s just a co-incidence. I do feel that Aamir Khan is a great artiste. He’s a good friend and I appreciate his work. But there’s no intention of celebrating my birthday in Aamir Khan’s style. I usually celebrate birthday with friends. In fact, I was planning to throw a party in Mumbai. But this movie is so special to me that I couldn’t say no to the idea of launching its first look in Delhi.

Post Queen, there’s a complete transformation in you. It seems like a sequence from a fairytale...

It’s true that anyone would like to be in my place. But it’s not an easy place to be in. I have worked hard for it. Knowingly or unknowingly, somehow I have reached at a place when I become the talking point of the movies that I do. But it’s definitely not easy since I have to meet my own expectations as an artiste, besides the audience.

Does it exhaust you?

It exhausts me a lot.

Have you become more choosy?

I’m just going with the flow. I’m lucky that the scripts I’m getting are so exciting. I could have started my own film, which is also ready to go ahead, but I chose to wait and work with amazing people and explore new opportunities.

Deepika Padukone recently opened up about her depression. You have seen many ups and downs in life. Did you ever feel depressed?

I do not know where the sporty spirit comes from but I haven’t had a single day when I didn’t feel like getting up from bed or moving on in life. I have seen the worst of life but I have always battled it. I have been very fortunate. Some of us are just born with this. I have nothing in me but my spirit. I never give up. I never feel bogged down. I have always been able to control my life even when I was going through a tough phase.

Do you believe in marriage?

Marriage is a tricky territory. Even though in our times, where women are strong-headed and independent and are multi-tasking as they wear sindoor and sari during the day and go out and party in night with hubbies and friends, there are a lot of expectations from women in marriage. Societies have different approach to women and marriages. I have had live-in relationships in the past and today I’m best friends with those people. But the kind of society that we live in today, it is hard to have a real idea of marriage. Nobody knows even what is the idea of marriage today. The TWMR echoes the same conflict of an urban couple and their struggle of keeping a marriage intact.

What happened to your direction plans?

I’m really busy with my acting assignments. The kind of work that I am doing with so many talented people is gratifying. I can direct later so I am postponing it bit. I have got nothing to complain about today since I am working with the best of talent in the industry.

Remuneration of actresses is a big debate in the industry today. Do you regret not getting the same amount of money as top male actors?

I have a superficial understanding of this particular fact. I think we have more male audience in theatre. A recent survey found that only 20 per cent of the theatre audience are women. That fact plays a big role in the business of entertainment. We are debating about gender equality in Bollywood but everything will change once we get more female audience in theatre. I’m hopeful since new-age women are independent and they no longer wait for their partners to come back home and watch cinema. Earlier, families would plan a movie outing together and it was done rarely. But today more women are willing to entertain themselves and are taking such decisions. As the percentage of female audience will go up, the business of women-centric movies will also get better. If that happens, women artistes will be paid better. This is what my little understanding of Bollywood says, it’s not that I have done some research.

What are your forthcoming projects?

After TWMR, I am doing Katti Batti. I will start a movie with Sujoy Ghosh, it’s called Devotion of Suspect X. I am also doing a movie with Hansal Mehta.

(http://www.dailypioneer.com/vivacity/ive-survived-the-worst.html)

HIGH VOLTAGE DRAMA

2015-03-26T11:49:00.001+05:30

Rajesh Pratap Singh morphed the ramp into a hospital dormitory and gave an impressive opening to the fashion week. By Karan Bhardwaj

Generally, he keeps away from drama and hullaballoo. Clothes do all the talking in Rajesh Pratap Singh’s shows. But the ace designer broke his rules this time as he opened the Amazon India Fashion Week in quite a dramatic manner. The ramp was transformed into a hospital dormitory where beds were laid in a row attached with drips. Models enacted patients and nurses. They even performed emotional outbursts of people that hospitals generally witness. “I was born in a family where everybody was practising medicine. It is a kind of tribute to healthcare professionals, what all goes in their heads. I have spent a lot of my time in hospitals as well,” the designer told us.

The collection had ten prints starting from the classic uniforms from the 1950s. Black and white checks ruled the roost with woven strips of ikat. “A lot of clothes were stitched with ‘suture seams’ which is basically used to stitch up bodies in surgeries and post surgeries. We trained our people with surgeons and practitioners who actually stitch bodies,” he said.

The silhouettes varied from maxis to long skirts, leather jackets to wool dresses. The bespectacled look of the models complimented the neatly tied buns and the minimal makeup get up. The music was played by Grain, Karsh Kale and Ankur Tiwari, “who are like brothers” to the designer and have played for 15 years for him.

(http://www.dailypioneer.com/vivacity/high-voltage-drama.html)

'Bollywood is not giving back to society': Sonal Mansingh

2015-03-18T18:22:00.002+05:30

Sonal Mansingh, who has controversies and achievements in equal measures, doesn’t repent anything. She tells Karan Bhardwaj that her guru Jiwan Pani was tortured by Sangeet Natak Akademi and why Bollywood has set a wrong example in society

If expression had a shape, it would have envied Sonal Mansingh. Her eyes talk louder than her bold tongue, perhaps that subscribes to her devotion to dance that she has lived each moment for more than 50 years. At 71, she is as fierce, dynamic and daring as she was at 18, when she ran away from her house to Bangalore to chase her ‘dreams of dance’. Like on stage, she loves to dominate the conversation, adds intensity by fluctuating her baritone and even breaks down while talking about her guru Jiwan Pani. She has dedicated this edition of Jiwan Pani Memorial Festival to Swachh Bharat Abhiyaan. In this hour-long interview, she looks back at life’s turning points, some memorable performances and why principles are of utmost importance to her. Excerpts:

At 71, you are brimming with fresh ideas and new productions. What is the secret of this infectious energy?

There’s no secret. If you love your work, it becomes your passion. And if you are selfless, then it is like the cherry on the cake. You don’t expect anything and get totally immersed in your art. Then, there’s no reason to halt.

Your life has been eventful. You fought legal battles, openly criticised the government and survived many hardships. Has the state been unfair to you?

Who am I to say this? I never did anything for myself. I invested all my money in my institute (Centre for Indian Classical Dances). Even today, I do not own a property. This house (Defence Colony apartment) belongs to a friend. I stayed at my previous house for more than 30 years, which had to be vacated due to Supreme Court’s order. And when I was stranded, government offered no support. I wrote letters to PM Manmohan Singh for two years, but didn’t get anything in return. I never say these things in public because I do not want to portray myself as a victim. All I know is that I have dedicated my life to dance. My life is an open book. I was threatened when I opposed Indira Gandhi’s emergency. I had also refused to perform. As expected, I was blacklisted by government and couldn’t access media, AIR, government programmes and prestigious festivals. I was not given funds while others lived in allotted houses. My contemporaries and younger classical dance practitioners received Padma awards in 70s and 80s. It was President R Venkataraman who recognised my contribution to arts and society. He called me and asked, ‘Is it true that nation has not honoured you?’ I told him that I have got many awards but he was shocked that I was deprived of Padma awards till then. I cried when he said, ‘I will rectify this national mistake.’ He honoured me with Padma Bhushan in 1992, skipping the Padma Shri. In 2003, I was rehearsing with my student from Seattle, who had a programme here. Television news reporters unexpectedly came and informed me that I had got Padma Vibhushan. I think fame and name follow without asking if you are committed to your art.

You never compromised with your principles. To whom do you attribute this quality to?

I come from a family of fighters and noblemen who have sacrificed everything for their principles. Later, I was nurtured by gurus who devoted life to their art. So I was crafted with utmost discipline and was made to differentiate between right and wrong. My grandfather, Mangal Das Pakvasa, a freedom fighter and one of the first five Governors of India, quit Congress because of differences with Pandit Nehru in 1942. But he remained close to Gandhiji. He was a true Gandhian. My father had been jailed several times during the freedom struggle. He made a school for tribal girls at a tiny village in south Gujarat. My guru Jiwan Pani helped so many people but it never came out in public. These people were always satisfied with their devotion to the cause. They have taught me that life is all about relentless practice and sacrifice. I have sold material things like golden bangles and programme remuneration to build CICD.

What are your memories with your grandfather?

He was a staunch believer of women empowerment. He instilled self-esteem in all of the daughters of the house. He distributed sweets when my elder sister and I were born. He was open-minded and always ready for discussion. I remember he had a major surgery and was resting in Mumbai house. Lifts of that building were not functioning. Gandhiji visited him and climbed three floors on stairs. It was Monday and both of them had observed silence. They interacted through eyes and laughed after half an hour. Everyone present was puzzled.

How were you introduced to dance?

Today politics and culture have no connection but it was not the case then. Freedom fighters and politicians patronised culture. My grandfather would host legendary vocalists in Raj Bhavan, Nagpur for several days. I would sit in his lap and enjoy the performances of stalwarts like Siddheswari Devi, MS Subbulakshmi, Bade Ghulam Ali Khan, Allauddin Khan and Ustad Bismillah Khan. My father used to play pakhwaj. Every morning, he used to practice the instrument for two hours. My mother was a vocalist. She staged performances even when she was carrying me. So my attraction to dance was quite natural.

But then, why did you have to run away from your house to pursue dance?

Because all I wanted to do was dance. My family was against this idea to leave everything else aside. Even today, many families object to this decision. But I was determined, so I ran away. There was a huge hue and cry. I withdrew money from bank which I had for a German scholarship. I got my holdall bag ready, rushed to Victoria Terminus Station (now Chhatrapati Shivaji Terminus) and left for Bangalore. I was 18 then. I reached the home of my Bharatanatyam guru Krishna Rao and his wife Chandrabhaga Devi, who had gone to watch a movie that night. I kept sitting at their doors until their return. Next day, he wrote a telegram to my father that I was safe.

Do you repent anything?

What’s that? There’s nothing like that in my dictionary. I’m happy and proud of whatever happened in my life and I’m excited about the future. I always followed my guts.

You have dedicated this edition of Jiwan Pani Memorial Festival to Swachh Bharat Abhiyaan. Tell us about that.

I was in Madras when I was nominated by PM Narendra Modi as one among nine navratnas for this mission. This is the first time that an artiste has been involved in such a big campaign.

I didn’t want to do ‘photograph opportunity’ with brooms. I think if he has nominated an artiste, he must have had expected us to disseminate this message through our medium of expression. Every performance at this festival will give message of cleanliness through song, dance and poetry. After the performance, each artiste would speak about the issue.

What does swachhata mean to you and how does art help in create awareness?

For me, swachhata has a lot to do with inner cleansing. One must develop a clean heart, soul, purify thoughts and spirit. If your behaviour and language are not clean, then no matter what you do, you will always be dubious. If one is clean from inside, it becomes easy to keep everything around cleaner and better. Awareness is a change in mindset. It means to penetrate into people’s thoughts or even lack of it, and compel them to think and introspect. We also plan to take these performers to forum theatres. We will arrange public discussions where people will be invited to interact with artistes. Government alone cannot achieve this goal. I think we will have to have larger discussions on public platforms for such issues.

Your scholar guru Jiwan Pani had a harrowing time with Sangeet Natak Akademi. Was it painful to you as you later became the chairperson of the institution?

(In a choked voice) I haven’t met a human like him so far. He helped so many dancers, vocalists, puppeteers and never took pride in it. He was terribly tortured by Sangeet Natak Akademi. His retirement files were missing from the office. He didn’t get pension. (She moved to tears) He had come from Orissa Education Service in the late 1960s, and when his files were lost, he was made to go back to Orissa and dig out past records. The Akademi staff again troubled him by misplacing those records. He was harassed so much that he had to borrow money from friends to fight a legal battle in the High Court. He eventually succumbed to cardiac arrest. When I became chairperson of Sangeet Natak Akademi, I instructed administration department to discover files on the first day itself. I threatened to dismiss them if they fail to provide the documents within two hours. They got it in half an hour. My guru had died but I sent my PS to deliver his money to his wife. She called me but her voice was choked. She kept crying. Bhabhi said, ‘Tumhaare alava koi yaad nahi rakhta’ (No one but only you remember him). I told her that I’m equivalent to an army of thousands.

You have stated that Bollywood hasn’t done enough for society. But they are front runners in this campaign.

Certain symbolism (photos with brooms) is also good for an initiative. But my problem with film stars is that they do not return anything to society. They are earning billions but how many movies do we get which involve social messages? If you are earning through people, isn’t it your responsibility to inculcate good values in them? What you show on the contrary are cheap dances and rape culture. We know that actors and sportsmen are worshipped in this nation. They have got temples in their name. Then why are principles draining in cinema? The irony of the matter is that the celebs have a big pie in everything.

I appeal to all film stars, from Amitabh Bachchan to younger ones that speaking two lines on media platforms is not enough. I appreciate that Aamir Khan has done shows like Satyamev Jayate and lyricists like Javed Akhtar, Prasoon Joshi and Gulzar do write things that have an appeal but it is not even a drop from an ocean. It has to be a continuing momentum involving all top heroes, heroines and producers.

Don’t you think India is trapped in a net where one issue gives birth to a gamut of many problems?

That’s true. Look what education sector is doing in this regard. Are they cultivating values in children? Some schools are taking initiatives individually. But the problem is so vast that the solution needs a greater cooperation from all sides. The concept of ‘I, me and you’ must go. Things are rotten deep inside. I will give you an example. In Defence Colony, a school had set up dustbins in its vicinity. But those bins went missing the next day. MCD built a very good restroom in the main market but the doors went missing. Manhole covers are being taken away. It’s important to understand how we are factoring in socio-economic, cultural and spiritual factor. Here, there are as many cultures as people. How would you unify them? India’s population is rising like a bullet train, and everybody is against the idea of population control. You provide convenience for ten people, tomorrow you have one lakh people awaiting for the same. Is anybody thinking of population control? No! If I say this, everyone will be after my life.

Does art have limitations?

Maryada plays a vital role in art and culture. You cannot cross it on the grounds of freedom of expression. When you cross the limit, there are repercussions. In France, cartoonists were killed, but wasn’t that a reaction to what they had created? I think an artiste must not cross the laxman rekha. You need to comprehend what is balanced, justified and appropriate?

The new-age has revised concepts of learning and sharing. You get instant fame and recognition. How do you look at the changing times?

I’m old-fashioned. We have done years of tapasya to reach here. Does new-age mean that you learn an art today, perform on stage tomorrow and want Padma award the day after? And then on Twitter and Facebook, you claim and feed that you are the greatest. Is this new age? Somebody told me new-age is about Yo Yo Honey Singh. Really? Is he the role model? I think new-age is like an overnight mushroom. It has a momentum and speed. But what’s that speed that blow you off instantly?

I’m not anti-modernism. I have adapted positive side of it. I’m on Twitter and Facebook where I share my thoughts and ideas. But I wonder why people are getting so negative out there. Why are they going away from simple values that remain true in everyday life? Why are they sulking so much? Is the sun not rising everyday? Is nature not inspiring anymore? I’m an artiste and wonder how the capacity to think and be unique is being killed in this day and age. You show something on TV and read it on Twitter... that becomes the Bible of life. The nourishment of thoughts must be encouraged. People should have ideas and opinions of their own.

How do you spend minutes before your performance?

At times, you are hassled and bogged down by things. But I try to attain sanity before my performances. I offer customary prayers to myghungrus. I do not talk. I remember my gurus and forget everything else. For me, rangmanch is like a temple. I just go there and worship.

Which has been the greatest performance?

One of the most cherished moments of my life came when I performed in McLeod Ganj at the invitation of the Dalai Lama in 1993. He never called anybody before and after me. Next, I had gone to Kailash Mansarovar in 2006 during the Saga Dawa Festival. I performed on a plateau called Ashtapad where saints like Buddha and Nanak had sermonised. I danced for half an hour. It was an amazing feeling to perform in front of Natraj at such a highland.

We know how a fatal accident literally crushed your body in 70s but you reclaimed your life and career in a majestic way. How do you look at it today?

For many years, I couldn’t believe that it all happened. But today I think life wouldn’t have been what it is today if that incident had not happened. It humbled me. Also, so much was left to be done. So much is left to be done even now.

How do you look at experimentation in classical dances?

There is nothing called experimentation in Indian dance. Improvisation comes in the prayog. Indian dance is like a sea of treasure, it depends on what you choose to pick and present. I’m not concerned about the form, I’m concerned about the content. If there is no content, how would you be new and different? My presentations have been led by fresh ideas. You cannot become different by putting elements of one dance into the other.

What’s left to accomplish?

I haven’t completed even one quarter of what I set out to do. It’s a long journey. I think I will have to take seven more births...there is so much to learn and share.

(http://www.dailypioneer.com/vivacity/my-life-is-an-open-book.html)

Kindred Nations!

2015-03-18T18:10:00.000+05:30

Rare images of Swami Vivekananda in the Parliament of World’s Religions and of Anandibai Joshee holding her first American degree in the 19th century are a part of an exhibition that demonstrates India’s historic ties with the US. By Karan Bhardwaj

Sitting beside Rabindranath Tagore and sharing his thoughts is like spending one’s days beside the sacred river, drinking seep of honeyed wisdom,” American activist and author Helen Keller described her meeting with India’s renowned poet Rabindranath Tagore when he visited New York in 1921. A beautiful image showing Tagore holding fragile hands of blind and deaf Keller, precisely exudes warmth the two greats had shared a century ago. In another legendary photograph, philosopher Swami Vivekananda is seen enjoying an afternoon outing along with his international counterparts in the lawns of Green Acre School, Eliot, Maine in 1984.

This school, a meeting-place for the study of world religions, was just one stop on a tour in which Vivekenanda introduced the West to Hinduism and yoga. There’s also a portrait of American leader Benjamin Carpenter by an unknown Indian artist which dates back to 1780. A lifelong sailor, Carpenter stood with pride in a red long coat resting his hand upon a globe. He used to sketch his views in journals Ruby and Hercules that chronicled his voyages to India between 1789 and 1793. Such rare images, texts, documents, ephemera and portraits are exhibited at India Habitat Centre’s Atrium area to highlight the centuries-ago Indo-US relationship. Titled Kindred Nations, the exhibition chronicled exchanges between India and the USA during 1783-1947 at various levels.

“The values of both the nations go back to hundred of years. Kindred refers to natural relationship between two people and their familiar ties. While the interest started with American merchants coming to India for trade, it soon grew among philosophers and thinkers. Swami Vivekananda had a historic visit to US at the end of 19th century to attend the World Parliament of Religions Conclave in Chicago. Anandibai Joshee became the first Indian to earn a medical degree in an American university in 1886. India has affected the history of American civil rights as well. Martin Luther King Jr cited Mahatma Gandhi as his inspiration for the non-violent resistance of African Americans that he led. In turn, Gandhi had been influenced by the writings of Henry David Thoreau,” says US Ambassador to India, Richard Rahul Verma.

Art critic Alka Pande is fascinated to find many unknown facets at this exhibition. “I didn’t know that the hero (Sabu Dastagir) who played the iconic role of Mowgli in The Jungle Book (1942) was an Indian. He obtained American citizenship in 1944 and joined the US Army Air Forces and was awarded the distinguished Flying Cross. When we think of America, we always think of IT, medicine, braindrain, Patels and Motels. We never associate our cultures. At subterranean levels, things were always happening between two nations but they were never highlighted,” she says. From magic to cinema and dance, in virtually all areas of entertainment, artistes and audience in the US and India have found inspiration and enjoyment in each other’s productions.

The first elephant exhibited in the US, brought from Kolkata in 1796, was the star attraction of a hugely successful tour. In the early 20th century, America’s leading magician, Howard Thurston, visited India to see its famed practitioners of illusion and from that experience crafted his own version of the Indian ‘rope-trick’. In the 1920s, African American performers brought jazz to Bombay, where it was quickly embraced by Indian audience and musicians. In 1935, young film director Ellis R Dungan set out for India at the suggestion of Manik Lal Tandon, a classmate in the University of Southern California’s Department of Cinematography. Dungan stayed on for 15 years, applying his American training to make Tamil and Hindi films.

Though India got its independence in 1947, the cultural and political exchange started ages ago. David Mees, cultural attache, American Embassy, tells us, “It started soon after the founding of American Republic when the first American President George Washington sent a Consul to Kolkata, which was not credentialled by the British governor general. There was some personal animosity there. After that, American merchants started trade with India. They preferred to avoid British middlemen and instead dealt with Indian commercial agents which provided opportunities to learn first-hand about the places and people they encountered.

In Bombay (now Mumbai), for example, Nusserwanjee Maneckjee, a specialist in the American market, handled the business of George Nichols from Salem. The two men became friends, exchanging gifts of Kashmiri shawls and books on navigation. As the US economy expanded, the prominence of the Indian trade receded. Nevertheless, American entrepreneurs continued to look for business opportunities. One of the exhibited images showed Madras Ice House’s South view in 1858. From 1830s to 1860s, ice houses were built in Madras, Calcutta and Bombay to store frozen blocks of water sent in ships.

The exhibition is divided into five broad categories and has been curated by Meridian International Center in a collaborative effort here. It has now shifted to the American Center.

(http://www.dailypioneer.com/vivacity/relive-the-past.html)

Anushka Sharma, true to her salt!

2015-03-12T23:52:00.003+05:30

Anushka Sharma turns producer with her unconventional project NH10. She says India must adopt a rating system instead of imposing censorship. By Karan Bhardwaj

She was true to her salt. She guarded her words cautiously, ditched ‘cricket-related’ queries smartly and took on censorship very eloquently. Anushka Sharma seems to have learnt the tricks of her business in little time. Having done some eight movies so far, the candid actor has now made the boldest decision of her career by not only acting in an unconventional movie NH10 but also putting her finances in it. But she says she’s an artiste to the core, who’s driven by her instincts, and not by what others talk or assume about her. “I don’t make decisions on basis of how they would occur to others. I’m always driven by my guts. My generation has grown up watching great cinema. Young filmmakers are already breaking the mould. Vikramaditya Motwane from Phantom, our co-producer, made Udaan which was so refreshing. So it’s time that such movies are encouraged. And being a commercial actor only enables you to do unconventional movies if you believe in them. I believe in the strength of characters and stories. If I like the script, I will do it. I want people to see me in a different avatar. When the trailer came out, we didn’t anticipate this kind of feedback. It was superb,” she said.

The actor ignored backchats on her cricketer beau Virat Kohli during the conference even before the discussion could surface. “Kuch bhi! Bina sar paer ki baat (Anything! There’s not head or tail to your conversation),” she hit back in a witty tone to a journalist who prodded her on her movie’s release during the world cup. She confided that financing NH10 was an impromptu decision and it allowed her to push her own capabilities. “I have always tried to do things that excite me. I love taking challenges that allow me to test my own capability of doing different things. When I read this script, I knew I hadn’t read anything like that before. I was waiting for something like this. We didn’t face any issues with finances. It was an original script. It was easier to be the producer. It’s a commercial viable venture,” she defended.

NH10 had a face off with CBFC. The censor board recommended some 30 cuts and finally agreed to allow its release with some 10 changes. Anushka affirmed that the cuts have not altered the impact the film intends to have on the audience. However, she insisted on rating system and abandoned the moral policing. “As responsible artistes, we are not doing something out of line. We always make a movie keeping something creative in mind and with all our conviction. Then all of sudden, you are told to change it. It hurts when you are asked to make such cuts. But we have made sure that it doesn’t impact the intensity of our film. We made NH10because we believed that there’s an audience for it. It would be nice to have rating system in India and not that ‘cutting’ culture. Every individual should be allowed to decide what he or she wants to see. There’s always an exit door in theatre to walk out if you do not approve something. I wish that responsibility is given to us on the basis of our basic intelligence. The bigger problem is that when you start working with so many parameters and restrictions, the original ideas and creativity get killed because you begin to work within boundaries. Original ideas won’t be able to come up with such curbs,” she pointed out.

Though NH10 runs on Anushka’s shoulders, she refuses to demarcate cinema on the basis of gender. She felt that concept-driven movies or great scripts cannot be centered around sexes. She further added that remuneration to actors must be decided on their ability of fetching the audience to theatres. “I have a problem on the division of movies on the basis of gender. I think pay scale must be decided on the bankability of a star. Sometimes, we oversee this factor. We keep smaller budgets when we make movies with heroines while it is totally a different case when a guy is playing the central character in it,” she said.

NH10 is about a couple on a highway journey where they encounter hooligans. The movie is all about survival and their journey of getting out of the trouble. As a person, Anushka said she gets intimidated by certain situations. “Anything that hits you out of ordinary intimidates you. No matter how strong you are, it shakes you up because you are not prepared to deal with it. Initially, it jolts you. Then you take time to adjust to situation,” she said adding that she lived her character thoroughly by becoming a part of her psychological journey. Talking about her own personality and the contrast with the character, she said, “Like any other person, I also have many moods. In general, I’m a happy person. I try to make people happy around me. If I’m angry, I don’t pick up rods for sure. Nobody does that. I am not passive aggressive. I will express if I am angry,” she said.

As a producer, she doesn’t have great box office expectations but is hopeful to leave a mark on the new-age cinema. “Success is subjective. It depends on how you measure it. I would like to see it garnering great sums on the box office but I’m not sure about it. I made this movie so that such cinema can be encouraged and more filmmakers can dare to take risks. These films give you a different value which you cannot count. As a producer, I would like to make different movies. I hope this movie gets a shelf life and it is remembered for a long time,” she said. The actor-turned-producer shrugged off direction saying that she is not ready for it. “I am not prepared to direct a movie. I’m not experienced enough to take that responsibility on my shoulders. Direction is about storytelling and I don’t have that vision so far,” she said.

(http://www.dailypioneer.com/vivacity/2015-03-09-80493.html)

Last Impression

2015-03-12T23:48:00.002+05:30

Yasser Usman’s biography of Rajesh Khanna reveals unheard childhood stories about the actor. The author tells Karan Bhardwaj how the superstar was a true-blue Punjabi and that he was the highest paid actor for over a decade

Rajesh Khanna was a hurricane in early 70s that turned everything into gold that came its way. While stories of him being an arrogant superstar and that his delusional attitude caused downfall of his stardom are like a well-known novella, little do people know that the 70s blue-eyed man had a traumatic childhood that led to his sheer audacity. It was never the success of his golden-jubilee movies that got into his head but a troubled early life that shook him entirely even before he stepped into filmdom, says author and journalist Yasser Usman, who has written a biography of the actor titled The Untold Story of India’s First Superstar.

The book, written much like a novel, provides insight into the actor’s childhood life besides his movies and super successful stint in Bollywood. Yasser interviewed many people close to the star and dug old piles of media coverage that drew actor’s public persona. “Rajesh Khanna exemplified the real definition of stardom. He was a rockstar of Indian cinema. People from abroad would come specially to see him. But he, as a person, was an outcome of a series of loss. Since childhood, he was left alone or abandoned by people he loved. So he became possessive in nature. When he was barely five or six, he was given away by his parents.

He could never come to terms with this loss that he become a foster child,” says Yasser, who collected a lot of intriguing stories while covering the actor’s funeral. In his research, he relied heavily on media interviews and also met Khanna’s close aides. “Like any other movie buff, I too had limited knowledge about him depending on what we have heard or read in media. But I got shocked when I met his friends and family who introduced me to a Rajesh Khanna who I never knew. They gave a different perspective of the actor, who was suddenly a true-blue Punjabi, a kind-hearted soul and an epitome of loss and possession,” he says.

Rajesh hardly spoke about his painful childhood in his interviews. In fact, he once gave fictitious names to his sisters in a media byte. “Rajesh was born in Punjab at a time when sharing of children was quite common. It left a lot of bitterness in them. Rajesh was one child who couldn’t accept this transaction. Things worsened when his real parents also shifted to Mumbai which left him utterly confused. He couldn’t sustain long relationships with his girlfriends or friends which made him even more bitter,” says Yasser.

The actor’s failed marriage with Dimple Kapadia made headlines when Dimple eventually decided to walk out of his house. In an interview, Dimple had stated how their relationship had died and that their conversations were only about children. Once, Rajesh came back from work and the couple sat for a couple of hours. But none of them uttered a single word. That was the day when Dimple realised the end of her marriage. Rajesh was known to be possessive and he wanted to control every move of his wife — from what she would eat to what she would wear, leave alone who she would have to meet with. “It happened because there was a sense of loss in him. He believed that everything that belonged to him was forcefully taken away. He controlled his wife who also left him. His stardom and his fans faded away with time. All of this only added to his wounds. He was like, I will do whatever I want and I’m not accountable to anybody’,” he says.

Rajesh Khanna left indelible impact on his films, fans and friends. All his girlfriends also spoke very fondly about him and came back when he died. Prashant Kumar Roy, a close associate of the actor confided that Rajesh, who was otherwise a very gentleman, never spoke about his family or parents to anybody. He would only introduce Narendra Kumar as his elder brother.

On movies’ front, Rajesh didn’t take his fading stardom very politely. His rapport with Amitabh Bachchan took a severe blow even though they worked together in a handful of movies. Amitabh was a rising star and received overwhelming response in Anand (1971) and Namak Haraam (1973).

WhenNamak Haraam was being made, director Hrishikesh Mukherjee shot all of Amitabh Bachchan’s scenes before Rajesh’s. When the footage was shown to distributors (it was a common practice then to take distributors in confidence while making the movies), they ridiculed Amitabh Bachchan and hoped on Rajesh Khanna’s performance.

“Rajesh did whatever he could do to become the talking point of Namak Haraam. Though both the actors delivered stellar performances, Amitabh Bachchan finally walked away with the cake. It’s known that Rajesh insulted Bachchan time and again but Bachchan never retaliated, at least on the records,” says Yasser.

The author contests perception that Rajesh’s success was short-lived. As the fact goes, he was the highest paid actor from 1969 to 1983. “His stardom lasted till 1986 but he continued to behave like a star till his last day. Even when he was doing television shows, producers would lament how he would ask for scripts in advance and rehearse his scenes in the presence of his previous movie directors and producers. “He was the only star who never called directors for work even he was not doing fine. His rival Amitabh Bachchan called Yash Chopra for work when he ran bankrupt but Rajesh could never have a second innings,” says Yasser.

(http://www.dailypioneer.com/vivacity/last-impression.html)

EXCL: CENSOR BOARD SAYS NOT GREY, IT IS FIFTY SHADES OF ‘NUDITY’

2015-03-06T17:15:00.002+05:30

The Central Board of Film Certification (CBFC) has refused to certify Hollywood’s much-anticipated movie Fifty Shades of Grey, largely because of its explicit overtones. The decision has come at a time when censorship has already become a talking point in Bollywood with CBFC’s recent list of ‘cuss words’ receiving massive criticism.

A five-member committee reviewed the movie on February 28 and found it “unfit” for the Indian audience. According to the Censor Board, Universal Studios, producer of the movie, has been informed about the decision.

“The decision was taken by the majority of the examining panel. The members judged the movie on its overall impact and didn’t object to any scene or dialogue in particular. It was found that the movie must not be certified because of its overtly sexual content,” CBFC’s Chief Executive Officer, Shravan Kumar said adding that the films are reviewed according to the guidelines enlisted by the

Ministry of Information and Broadcasting, that were last updated in December 1991. As per some reports, the examining committee had objected to “some language” in the film even after the studio made voluntary cuts.

If the studio appeals for the review of this ban, the revision committee of the Board will hold another screening. “It has happened with a lot of movies. The film will be reviewed again, as requested by Universal Studios. This is not the final verdict,” said CBFC member Ashoke Pandit. Globally, Fifty Shades of Grey has earned about $500 million despite facing bans from many nations such as Kenya, Malaysia and Indonesia.

Fifty Shades of Grey, a cinematic adaptation of the best-selling erotic novel of the same name, was earlier expected to hit screens on Valentine’s Day but the screening got delayed. Kumar told us that the studio failed to provide the movie’s print as per the schedule which led to the delay. “We received the application from Universal Studios in the end of January.

We processed the request on first-come, first-served, basis. But when we asked them to show the movie as per the schedule, they requested us to put it on hold since they were not ready with the content till the first week of February. When they got back to us, we brought it in line of examination on February 28,” he said.

Apparently, a lot of films face similar objections in the first screening. Anurag Kashyap’s latest movie NH10 made headlines when the Censor Board recommended more than 30 cuts. However, the revision committee gave a nod for its release with nine cuts. It is unknown if Universal Studios will appeal before the Censor Board. They refused to comment on the matter.

(http://www.dailypioneer.com/todays-newspaper/censor-board-says-not-grey-it-is-fifty-shades-of-nudity.html)

Exclusive: Be Your Own Woman

2015-03-03T11:31:00.002+05:30

BAFTA-winning filmmaker Leslee Udwin, who has made a documentary on Delhi’s December 16 gangrape, is a rape survivor. In a freewheeling conversation with Karan Bhardwaj, she shares her experiences of interviewing rapists and why it’s important for youth to be concerned about gender equality

How and when did you decide to make the documentary on December 16 gangrape?

I wanted to do something different, something that can change the status of women across the globe. I came across the terrible news of what happened in a Delhi’s moving bus. That was awful. I was shocked. But I knew brutal rapes were not a rarity anymore. What happened on streets after that particular incident moved me as a woman. The protests that erupted on Delhi streets eventually spread across the country. I knew India was ready for a change. They were on streets for over a month. I was fully aware that they were not fighting for rights for women in India but for the rest of the world. I decided to pack my bags and leave for India for next two years to make this documentary. I left my family behind for this.

Tell us about the filming process.

I started brainstorming in February 2013. We started shooting it in July which went on till January next year. Out of the 87 hours of interviewing, 30 hours were statements from convicted rapists. Editing the entire shooting to less than an hour was an uphill task. However, in terms of filming, it was not hassling. The government was positive and I got permissions. The documentary will have to pass through Censor for its television broadcast. But the movie is not violent. We have not re-constructed the rape. We have made this film with respect for parents of victims. They are so beautiful and dignified.

The biggest problem was the editing part. Since I didn’t understand Hindi, I had to get everything subtitled. This took us long. Anuradha Singh, who was one of the editors for Slumdog Millionaire, has edited this documentary.

When will it be premiered?

We have a global launch in New York on March 9 where personalities like Meryl Streep, Emma Thompson and Amal Alamuddin Clooney will be talking about it. It will be broadcast on NDTV and BBC.

How did you get financiers?

BBC has invested 40 per cent of the documentary but I ended up putting my own 1,10,000 pounds. I’m still carrying enormous debts. I have got money from my mother, family, friends, wherever I could go and collect it from. Even if my money doesn’t come back, I do not care. I’m proud of it.

Did you ever face molestation in your life?

I was raped when I was 18. I had just finished school and was starting university. I ended up getting into a party where I met a guy who I didn’t know well. I met him in a group of friends. He invited me at a party the next day. When I got there, there was nobody except him. He forced himself upon me. I thought he would murder me as well. For me, the most pressing thing was not being killed. I had strong survival instinct. The rape was less important than being killed. When you are raped and face that there could be consequences, the first thing you do is to blame yourself. It’s absolutely atrocious because it cannot be wrong of you to trust people. Life can be gruesome if you live it without trusting people.

Did you share it with anybody?

This was my mistake. I should have spoken out. I didn’t tell this to my parents or friends for many years. Years later, I shared it with my husband and children. But now I think it’s important to talk about it when I am encouraging other women to stand up against it.

But it must have been painful all those years...

It was tormenting for several years. May be, that’s the reason why a part of me hated men throughout my life. I do have a lot of anger against men, which is not healthy and I’m also not proud of that. But that incident has left me with the residue.

Sometimes my daughter pulls me up and says, ‘Don’t be so black and white. You cannot be sexist against men.’ And trust me, I don’t want to be sexist. I still try to fight against this feeling because it’s not a healthy thing. When I watch TV news and find men arguing over issues, I wonder what these men are doing there. It’s actually men who are taking the decisions. The reason they are taking decisions is because women are not fairly represented in governments.

Why did you want to make the documentary?

It’s a real story, and a film can do what a conflict or a law cannot. It penetrates into your heart. It makes you understand what suffering is because it shows you everything graphically. You go with the characters and feel their pain. People who have seen this documentary have been moved, cried and infuriated. They get so angry that uncivilised and idiotic things are being said in the 21st century. We are not in the times of Mughal invasion. We are still stuck in the set of attitudes. And this is not India’s problem. This is a global menace. In UK, one in three girls between the age of 13 and 17 has suffered sexual violence. One in five women globally is either raped or has been molested. One of the actions in my campaign is to encourage women to speak against molestation. It’s wrong and unjust that women are victimised in this shame. The shames lies with the men who rapes, it lies with society which encourages the thought that it is okay for a man to rape a girl.

What did you comprehend about Indian system during your stay here and while interacting with rapists and their families?

There are multiple complexities in India. Poverty has an instrumental role to play. When we went to interview parents of one of the rapists, they had about six grains of rice in a bottom of a container. They are so immensely poor. Poverty is not an excuse but to understand the problem, we need to look at all the factors. Due to penury, the young boy left home at 11 and earned to feed his family. In Delhi, he got into bad company and committed such heinous crime. But the real problem starts with girls not being wanted or welcomed in society. Girls are discriminated and malnourished at the cost of boys. I find the system here more extreme than it is elsewhere. Laws are everywhere but they are not taken seriously. India’s a very civilised and liberal democracy on paper. Article 14 prohibits discrimination on the basis of sex. The dowry is illegal here but can you show me a family that doesn’t take or give dowry? The problem is implementation of laws. Besides patriarchal structure, there’s an attitude that this system cannot and must not change.

Men want to control women, and women collude with it. One of the rapists’ wives told me that her life would be over after husband is hanged. She said she would choke her child to death and kill herself because there’s no life after her husband. That’s the tragedy that women have been brought up with such a thought. Women allow men to control them and negate who she is. She is not a person, she is a thing. In UK, we had laws but a long time ago, women were classified as goods, not people. We overcame that degree of inequality but we still have patriarchy. I, as a women, am still patronised by men at my workplace. There are stereotypes in society. I didn’t get equal pay for equal work. In Saudi Arabia, women are jailed for driving vehicles. There are still nine per cent women representatives in governments across the world though we are 50 per cent of the population. The truth is none of the democracy is any good. It’s all unjust and pathetic. But I am on the journey of hope. I think world is ready for change. Noted people are dedicating their life for this cause. Jimmy Carter has said he is going to dedicate his life for this ‘unfinished business’. That’s just one example. This movie will galvanise that force and will bring everybody together.

Have you spoken to the government of India?

I did meet Narendra Modi some time ago. I wish he embraces the cause. He has been saying all the right things,Beti Bachao and other campaigns. But India needs action now, not just words. I am also launching a portalIndiasdaughter.com to give more insights and information on women empowerment.

Share your experience of talking with rape convicts. Do they regret about their crime?

The audience will be shocked to see what these people are saying. There’s not even slightest remorse in them. I met a rapist who raped a five-year-old girl and chatted with him for three hours. He gave me each minute detail of what he did. He doesn’t regret anything. Mukesh, one of the convicts in Delhi gangrape, asked why everybody is making such a big fuss about their act. He genuinely wanted to know why people are making an example of them when everybody is doing the same out on streets. Even their defence lawyer AP Singh, who made horrifying comments during the interviews like there’s no space for girls in our society, made an interesting observation. He said that there were 250 sitting MPs who had criminal charges, including rape and murder two years back. How can we allow such a thing to happen?

What were the after-effects of meeting with the rapists and hearing them for 30 hours?

There were after-effects and they surprised even me. I’m very strong individual. I got back to UK from one of the legs of the shoot. From airport, I drove straight to a friend’s house where I joined my family at a party. During celebrations, my husband called me in a separate room and ask if he could help me. He told me that I was crying throughout and tears were sliding down my cheeks non-stop. I just didn’t know that. I thought I was wearing a happy face.

What’s the most cherished reaction of the movie?

I screened the documentary before it was edited fully for some of the interviewees like Leela Seth and Gopal Subramaniam. I wanted to get their feedback and ensure the documentary is fair and unbiased. Three waiters had arranged snacks for the guests. I noticed they watched the movie riveted, standing in the corner. In the end, one of the waiters walked up to me and took me out. He appreciated the film and said it would change him forever. If this movie changes two million people, if not two billion people, I will be most happy.

Your Who Bombed Birmingham also led to a widespread debate in UK.

I have made a couple of campaign films before besides feature movies but none changed the world. They were great and I got awards. But when your work changes the world around you, it makes earth a better place to live in, then it becomes rewarding for you. Who Bombed Birmingham in England got six innocent men released from 17 years of imprisonment. The movie made it embarrassing for the UK government to keep those people any longer in jail. It was a major miscarriage of justice in Britain. The police and judges were very culpable. Once you do something that matters at big level, it inspires you to do more.

How did your family support you?

My husband and daughter were my ultimate support. I stayed away for two years in India. There was a time when I was so disappointed that I wanted to go back. I spoke to my daughter who said I cannot come back as girls from her generation are relying on me. The day I got back from India in July, I got the news that my husband has got serious cancer. He was on drugs. I told him that I would appoint somebody to finish the movie but he sent me back. He wanted me to do it myself. I’ve to now stop for a while and be with my family.

How do you plan to take it to the masses?

On March 6, I have set up a launch in UK where we are screening the movie at Doughty Street Chambers, which is the premiere human rights lawyers chambers in London. We have the top UK barristers watching this movie. We want them to work with bar associations around the world to make sure we don’t have defenders like AP Singh. Misogynist lawyers are not acceptable. How will society function if its laws are also mocked by its own representatives? Then there is a premiere in New York followed by Sweden. It will be screened at pioneer universities like Oxford, Cambridge. There are hundreds of volunteers who will show it in every single school in Maharashtra. Our campaign is supported by PLAN India, PLAN UK, Action Aid India, Magic Bus India and Shakti Vahini.

What is India to you?

India is a big unwieldy clash of old and new, essentially at every level. It has developed rapidly in terms of economy but not in terms of its mindset. There are masses of backward-looking people. But a real wave of forward-looking people are coming across and they are making choices. Young people need to stand up and ascribe to their choices. They need to claim their lives. They must not accept what is unacceptable.

(http://www.dailypioneer.com/vivacity/be-your-own-woman.html)

I can’t remove my kurta and play sarod: Ustad Amjad Ali Khan

2013-04-04T17:56:00.002+05:30

‘I CAN'T REMOVE MY KURTA AND PLAY SAROD’

29 March 2013

THE SATURDAY INTERVIEW

Amjad Ali Khan at his Delhi residence. Pic by Subrata Dutta

Sarod player Ustad Amjad Ali Khan is a star in the Indian classical music world. Born in the Bangash lineage, rooted in the Senia Gharana, Khan gave his first performance at the age of six. The sarod maestro received the Padma Shri in 1975, the Padma Bhushan in 1991, and the Padma Vibhushan in 2001, and was awarded the Sangeet Natak Akademi Award in 1989. He has also won numerous accolades, including a Grammy nomination, the Crystal Award by the World Economic Forum and has performed at venues the world over, including the Carnegie Hall and the Royal Albert Hall. Married to Bharatanatyam dancer Subbalakshmi, his sons, Amaan Ali Khan and Ayaan Ali Khan, are also celebrated sarod players. Khan has authored a new book My Father, Our Fraternity dedicated to his father Haafiz Ali Khan. In this interview with KARAN BHARDWAJ, he talks about his life and the current status of classical music.

What inspired you to write a book on your father?
In the 80s, I used to write a diary on different issues. One day, I tore it apart and disposed it of in trash. However, my family retrieved it from the dustbin and got it printed without my knowledge. They presented it to me in a book form. It actually inspired me and I resumed writing seriously. Some 10 years ago, my sons ~ Amaan and Ayaan ~ also authored a book Abba: God’s Greatest Gift To Us, dedicated to me. I gradually realised that very little has been written about my father and the present generation is not aware of a legendary artist-cum-inspiring individual. So, I started writing this book, My Father, Our Fraternity ~ The Story of Hafiz Ali Khan and My World, which took three years to complete and Roli books agreed to publish it.

What kind of a personality was your father?
My father was not an ambitious person at all. He was a compassionate, kind and contented human being. He never boarded a plane because he was afraid of flying. His contemporaries used to go to America, Britain, other nations but he was very happy being in India. Today, people wish to go to the moon and sing in the universe but my father always wanted to sing among his own people. We were living in a rented house in Delhi and had no cars or other items of leisure. But my father never wished for it.

One incident you still remember..
In 1960, my father was honoured with the Padma Bhushan. He took me along to the tea party. The then President Dr Rajendra Prasad approached us and asked: ‘Khan sahab, aapko koi pareshani hain toh bataiye’. Unlike others artists, who would often crave for bungalows, cars, scholarships and other benefits from government, my father demanded immediate steps to preserve Raga Darbari Kanada. The President was flummoxed and asked him to repeat what he had said. My father explained that the raga was losing its purity and something needed to be done on an urgent basis. As a young boy, I was so embarrassed that my father did not ask for a better standard of living for us and in fact, he was bothered only about his music. Later on, I could understand his pain and passion for music.

Tell us about your childhood…
I couldn’t enjoy my childhood. I started performing at an early age. My father was upset that my elder brothers didn’t uphold our musical heritage for long though the next generations of his peers were doing so. I happened to be the youngest child in the family and he was very confident of me. By the grace of God, I too realised my responsibilities and decided to follow in my father’s footsteps. I didn’t have too many options like other teenagers. Whatever I would collect from the concerts, I gave it to my mother. From the age of 12, I started travelling abroad to perform.

Why don’t you compose music for films?
My father was initially worried I would flee to Mumbai and join films, as other kids of my age from small cities would often do it. He didn’t keep even a radio at home for long. In 1961, I first went to Mumbai to play music. I bonded well with film stars but never agreed to work (for them). I always knew my responsibility towards my own instrument and music. In the last 10 years of his life, my father, too, needed my attention as he had become highly diabetic. Films require sacrifice. Also, Mumbai’s humidity is damaging to my instrument. I consciously chose to keep away from the city.

Are you open to film music today?
Yes! I wouldn’t mind composing for films now, be it Bollywood or Hollywood.

Is the future of classical music in danger?
Forty years ago, classical music was more popular due to its purity and high quality. However, it is losing its sheen because those qualities are declining. But I am assured that the legacy of classical music and every instrument is bright, it will stay forever. We have bright young disciples. I understand the cultural aggression that television is contributing to. One can watch 300-400 entertainment channels anytime.

Popular entertainment has outshone classical music. Why?
The Western world has balanced its art and culture with popular content like films. India is unbalanced that way. Bollywood is worshipped here. They say ‘Jo dikhta hain vo bikta hain...’ I cannot remove my kurta and play sarod. Commercialisation is key today. It is unfortunate that no one, including the government, bureaucrats or common people, is bothered about the character of the nation. Who cares for national heritage, monuments or music? It was never my ambition to earn popularity and money. Even I could have gone to Mumbai and chosen the short cut.

Indian classical music is lending itself to fusion…
Yes! Many young and old musicians are collaborating with foreign musicians and creating a new kind of music. Even I have done one such collaboration with the Scottish Chamber Orchestra. I have several such proposals and I am thinking of taking up a few. But not everyone can make fusion music. It requires a lot of creativity. One should be able to appreciate and understand the qualities of the other form of music.

(http://www.thestatesman.net/index.php?option=com_content&view=article&id=449756&catid=39)

FASHION: The Selling Point

2013-03-22T13:07:00.000+05:30

Young designers are hitting the bull’s eye, raking in big bucks, by keeping a tab over evolving buying trends. A report by karan bhardwaj

Whether global recession is receding or not is itself a matter of debate today. Whatever it is, the markets have been affected and it has struck the global buyers mentally. That’s probably the reason why international buyers are missing in action at various fashion dos, including the recently concluded Wills Lifestyle India Fashion Week. However, the young incubators of the Indian fashion are unfazed by the downturn of global markets. The order of day, according to them, is to cater to the domestic market, and also the famed middle class of India, where a huge chunk of population is ready to take advantage of the designers’ creative works. The young and smart designers are not shy of introducing little changes in their creations to be able to suit the evolving needs of their countrymen.

Model in Rajesh Pratap Singh's outfit

New-age sensibilities
“We have to understand that India is a mass market and its buying taste is definitely evolving with the changing times. The awareness has increased. To reach out to the customers, there is a storm of fashion websites, blogging, Internet promotions etc,” said designer Urvashi Kaur. According to her, the pret version of garments is the latest fad and it will stay for long. “Economics is always the base of my clothes. Since pret is anytime cheaper, I work mostly on it. I find my competition in high-street brands. I know I have to provide extra edge to the customer that such brands are not offering. If your research is good in sourcing out the right fabrics, colours and stores, nothing can beat you. The good news is that the Indian customers are more willing to pay than ever before,” she said. Kaur’s latest collection of tunics, kurtas, dresses, trousers and other clothes, which was showcased at WIFW-AW 2013, is available between Rs 2,000 and Rs 16,000. “New-age India believes in comfortable clothes, not only the heavily embellished couture garments. I think our domestic market is the largest market today. Tier-II cities like Nagpur, Raipur, Indore and others are doing really well. They have many industrial families who are on a shopping spree,” she said.

Low on bling
Designer Gautam Gupta added that Indian customers are very sensitive about prices and one has to keep that in mind. The designer has already slashed prices of his couture closet. “Yes, I have done that to sell more. But in this process, one has to be extremely careful of the quality of the product. People are better informed and they don’t budge easily if you offer poor quality. They need smart outfits at affordable prices,” he said. Gupta explained the art of “smart clothes”. “A brocade costs between Rs 800 and Rs 1,500 per metre. If I put three metres in a sari, it would become expensive. So, I would use it in tid-bits. The USP of Indian couture is rich textiles, embellishments and embroideries. All one has to do is to reduce it smartly. The cloth must not lose the bling factor. It should appear smart, simple yet elegant,” he said.

Self-reliant women
Accessory deigner Pinky Saraf has converted her blingy necklaces and bags into less embellished pieces to cater to young and independent girls. “I have created a fun line, which is less blingy. The price point starts at Rs 1,000. A lot of school and college girls pick my accessories,” she said. Saraf understands the budget-constraints and also the growing craze for simplicity. “I have variety of accessories, from elaborate ones to simple items. Since I believe in simplicity, I enjoy doing it most. Everyone has a budget to follow. There are independent, self-reliant girls, who don’t accept support even from their parents. I like to offer accessories to such women. I would say that those who have kept prices of the accessories less are doing fabulous business. That’s also one reason why accessories market is growing rapidly,” she said.

Problems galore
However, according to designer Nikasha Tawadey, who shuttles between Singapore and India, there are lots of issues in entering the mass markets. “There is no conducive infrastructure. Most of the designers are entrepreneurs, who have to do everything, right from the production to design to supply, themselves. Unlike in the West, Indian designers are not backed by multi-millionaires or big enterprises. Where is the time and capacity to tap the mass market?” she said. Tawadey, who spent her childhood in Kolkata, lamented that the government doesn’t encourage the designers. “They don’t support us. All they do is to levy heavy taxes. We have also experienced ‘entertainment tax’ on designer’s clothes. We are paying 24 per cent just in taxes. When you give it to stores, they ask for another 40 per cent of it. So, if your MRP is Rs 10, you distribute Rs 6.5 here and there. Designer bhai banayega kya aur khayega kya?” she said. But she also admitted that the buying-capacity of the middle class has increased by volumes and people are investing in clothes heavily. “Twenty years ago, people would say 'Yeh to lakhpati hain'. Today everyone’s a lakhpati. Now, middle class can afford lots of luxury items which we couldn’t afford while growing up in 80s,” she said.

Reasonable demand
Pret designer Abhijeet Khanna, who retails his garments through over 60 stores in India, pointed out that it is fair to charge a few thousand rupees when painstaking work is done on a garment. “Five to six thousand rupees come under the budget-friendly category today. Our garments sell because they are well textured, finished and cleanly structured. Future lies in pret wear,” said the designer, whose stall was quite a buzz at the just concluded WIFW.

DESIGNER TALK

Jaipur is simpler, not into designer clothes. Puja Arya tells karan bhardwaj

Jaipur-based designer Puja Arya studied fashion at NIFT (Delhi) for two years, well complemented with a scholarship to study design at Nottingham Trent University (UK) and the Charles Wallace Trust Fund (British council). Arya’s inspiration lies in re-inventing traditional craft of hand-block printing of Jaipur, which she brings to life by energetically combining the same with the international silhouettes. The designer uses kitschy hand block print designs in bright and natural hues on her western wear, giving her garments a contemporary and modern twist. Since 2006, Arya has been a regular at Wills Lifestyle India Fashion Week, but didn’t do a runway show for past three years, including the latest edition of WIFW. She explains why and more.

What is your latest collection for autumn-winter season?
It is called ‘Quirky Ms Quirky’, a whimsical jamboree of prints and colours. There is an entire repertoire of hand block designs ~ from a '70s inspired floral pattern to an ethnic tribal border. I have put together regular prints with geometrics such as dots and stripes. The styling for the collection is retro inspired ~ printed satin pants teamed with a sequined shirt, printed satin jumpsuit, '60s inspired short dresses with embroidered yokes and necklines, flowy chiffon full length dress, Chanderi printed jackets and chiffon printed saris. It starts Rs 6,400 onwards.

How did you get into fashion?
I owe my creative genes to my mother, Neelam Arya. She was into designing for many years. I grew interest in fashion seeing her doing simple and basic clothing. Twenty years ago, she adopted a family in Sanganer (near Jaipur), which was into hand block printing. They didn’t have any work and their craft was dying. I took over and brought it to another level.

Why don’t you get into mass markets?
I have a small production base. I am very comfortable with it. I don’t want to do large numbers because there should be no compromise with my designs. I am very particular about each garment. The idea is to enjoy fashion. I don’t want to take pressures.

Young designers are selling at low prices.
There is stiff competition because of too many designers. New entrants find it difficult to establish themselves with high prices.
You are not doing runway shows since 2010. Why?
I get more business when I am not doing runway shows. I can deal with my clients all the time. I am based in Jaipur, find lots of hassles in doing a show. I have to come here and look after everything until the show gets over. There will be no time left for buyers. Also, after a time, clients and media know you. They come directly.

Your take on Jaipur and Delhi.
Jaipur is much easier and simpler than Delhi. We don’t have cut throat professional life like Delhi. Rents are not high, you maintain personal relations with people you are working or dealing with. Also, Jaipur is not that particularly fashion-conscious as Delhi yet. People are not into designer clothes.

Would you like to settle down in Delhi?
No! I give my clothes to stores in various cities like Delhi, Mumbai, Ahemdabad, Chennai and Hyderabad.

(http://www.thestatesman.net/index.php?option=com_content&view=article&id=448518&catid=94)

Talk: Aalim Hakim

2013-03-19T20:37:00.005+05:30

Like father, like son

15 March 2013

Aalim Hakim’s terrific work with tresses sets him apart from the rest, as karan bhardwaj finds out

WELL-KNOWN hairstylist Aalim Hakim is a big force in the film industry today. Not only does he enjoy tremendous rapport with Bollywood’s most sought-after actors, he is also the first preference of several top directors when it comes to styling actors in their films. Taking a cue from his father, Halim Kairanvi, better known as India’s first celebrity-hairstylist, the son picked up the reins at age 16.

He also owns a global chain of salons in his name. Now, the starmaker is ready to broadcast his work and sessions with ace actors in a new show, Style Inc with Aalim Hakim. He talks about his profession, Bollywood actors and much more. Excerpts:

Tell us about you new show.

Style Inc with Aalim Hakim has a fresh concept. People haven’t seen iconic stars getting makeovers or haircuts done in front of cameras. They have given style tips previously, or have been captured behind the scenes. But the process of getting into the character will be shown for the first time. Stars will talk about their style, life and wardrobe.

How challenging is it to make the actors look different each time?

I do think a lot before zeroing in on a look. Photo shoots are slightly relaxed because I know I will be doing something else after five or 10 minutes. But I make sure not to create a look that actors have already sported in previous shoots.

Which actor bothers most about his hairstyle?

Hrithik Roshan changes his hairstyle in every photo shoot. This is not the case with his peers. They may change appearances but hairstyles remain the same. Hrithik likes to don a complete new look.

In films, characters have variations. You have to create several looks in a single movie.

Movies are always about the characters and situations. We have to do a lot of homework for them. A contemporary image is required while maintaining the originality of the idea. Like in Rockstar, Ranbir Kapoor’s character has many variations. He is in college, then he leaves the house. He gets into a Darga, becomes a loser and finally goes the rockstar way. Each phase required makeovers. His other film Barfi! had three different chapters. Though the film is set in the ’70s era, I gave him a pigtail. In the ’70s, no one kept pigtails but we did it to make him look different.

You also did Once Upon A Time in Mumbai. It also brought ’70s and ’80s fashion back into focus.

Yes! I gave Ajay and Emraan long hair in it. First we thought of putting extensions to Ajay to make him look very long. But we chose the natural length and worked only on the moustache because his white suits already made him appear larger than life. For Emraan, we gave a moustache with a goatee. There was no culture of a goatee in the ’70s but it gave a contemporary and edgy feel to it. We have to keep the tastes of current audiences in mind.

How often do you become the victim of actors’ ego when they want to outshine each other?

I don’t find actors egoistic today. The good thing is that they don’t want to look good. All they want is to completely delve into their characters. The only place they have to appear good is in ad campaigns since they sell their names, not characters there. That’s why they even earn fat money in exchange. They understand ego can kill them. Thankfully, actors are very sweet, open-minded with me. They work professionally and perform their duty with honesty.

How did you get into hairdressing?

I was nine when my father died. My mom had documented the news articles on him. It was so inspiring to read them. He had worked with legends like Dilip Kumar, Sunil Dutt, Amitabh Bachchan, international stars like Bruce Lee, Richard Harris, Crazy Boys and Tony Greig. He had started working from the age of 14. Earlier, he was a painter and then got into hairdressing. I followed my dad’s footprints only.

How has this profession evolved over the years?

It has changed immensely. People have started taking hairdressing very seriously. Earlier, parents used to stop their kids from getting into this profession. Now, they are very open. Stylists are earning huge chunks of money. Well-known international actors have to work according to their availability for months. It’s a big business now.

(Style Inc with Aalim Hakim airs every Friday on TLC channel at 10 pm)

(http://www.thestatesman.net/index.php?option=com_content&view=article&id=447770&catid=47)

FINALE:Manish Arora repeats Paris, yet stuns Capital

2013-03-19T20:37:00.000+05:30

karan bhardwaj

NEW DELHI, 18 MARCH: The two swanky venues created by the Fashion Design Council of India (FDCI) at the Pragati Maidan fell short of space for internationally recognised Indian designer Manish Arora to execute his much-awaited finale show at the five-day long Wills Lifestyle India Fashion Week-Autumn Winter 2013. To showcase his collection, inspired by US’ Burning Man Festival, which he had recently presented at the Paris Fashion Week, the designer erected a special set, the biggest in the history of Indian fashion weeks, giving required space to eminent guests, scribes, models and live performers. Projectors helped the big walls converting into screens where Arora’s personal images were broadcast. The production crew even climbed high on the squared-walls of the area to manage the spotlights live on the models.

The presence of actors like Sonam Kapoor, Neha Dhupia and of course, the designer himself, created such a hysteria that human chains had to be formed by the FDCI volunteers to control the berserk crowd of the world of fashion.

What unfolded later was truly a magical show where every guest was seen grooving freely on the live performance of band Hilight Tribe. The models also didn’t hesitate shaking legs impromptu. Arora, who showcased at WIFW after four years, presented a vibrant pret line seeking muse from the unrestricted thoughts of arts, a belief behind the burning festival of the US.

There were embroidered peplum dresses, skirts, oversized coats and tops in contrast with pencil skirts and fitted pants. Laser-cut material, sequin embroideries, beads and chains and abstract geometrical patterns were heavily used on smartly knitted and pleated clothes. A splash of colours like navy blue, black, pink, orange and neon green marked the vibrancy in dresses which were teamed with striking accessories like moulded leather turbans, ipad cases, pouches, hobo bags, corset belts, silk and cashmere scarves. “I am glad that people enjoyed the show thoroughly,” said the excited designer. Sonam Kapoor, who is shooting in Delhi at present, confessed that it was her admiration for the designer that pulled her to the venue. “I have taken out half an hour strictly to attend the show. There was no time to spruce up properly to walk the ramp. so, I chose to sit among the guests,” said the actor, clad in a black sari.

(http://www.thestatesman.net/index.php?option=com_content&view=article&id=448233&catid=95)

Nida’s installation steals the show

2013-03-19T20:36:00.002+05:30

karan bhardwaj

NEW DELHI, 17 MARCH: The vivacious designer Nida Mahmood drew cheers for out-of-the-box presentation on the last day of the Wills Lifestyle India Fashion WSeek-Autumn Winter 2013. Taking fashionistas back to the era influenced by steampunk technology, Mahmood placed a three-walled installation titled ‘Vdo Gaga’ on the runway. Apart from the mix of objects like watches, saxophone, pictures and paintings, the installation had tablets all over it for live streaming, which began exactly at 7pm. The installation was the major highlight of her show titled ‘Must! Qalandar’. Her organic clothes primarily had batik prints, kantha work from Bengal. Trademark's drapes such as saris over jeans were repetitive. Speaking to The Statesman about her installation, Mahmood said, “.The guiding factor behind it is steampunk technology. It was big in 60s and 70s. This is a part of much larger installation which will be revealed soon. For two years, I have been working on this installation, 20 hours a day, and it is still on.” On her arty stint, she said, “I have always been an artist. I find an amalgamation of art and fashion, which have no division for me.”

On Day 5, designers Ashish and Vikrant of Virtues, known for experimenting with complex print techniques and weaves, presented yet another interesting line. Lehengas, kalidars, kediya jackets, Nehru jackets and other dresses had lots of embroideries and threadworks. Inspired by the nawabs of Awadh of 18th century, the designer duo used rich embroidery, zardozi, dori ka kaam and classy cuts to evoke grandeur of the royal period. There was extensive use of hand block prints in natural dyes on mashroos, cottons, chanderis and cotton silks. However, the menswear drew lukewarm response due to the extended-feminine touch to the garments. Kurtas, jackets were teamed with long skirts which remain a trend of argument for metro-sexual males. “We wanted to make sure that embroidery doesn’t overpower the garment. The look has to be balanced and the person should not look like Christmas tree. The biggest challenge was to lend a minimalist and contemporary look to all the garments,” said Ashish.

Charu Parashar used lots of bling elements in her creations, inspired by the tombs of Egypts. The embellishments were imposed over prints which reflected the tile work of tombs and ceilings of the Egyptian palaces. Parashar, who took over six months to put together this new line, used grey as a base colour, mixed it with yellows and oranges. "It’s an evening line. Every garment has been treated like a work of art,” said the designer.

Manish Malhotra showcases 'ignored craft'

2013-03-19T20:35:00.002+05:30

karan bhardwaj

NEW DELHI, 16 MARCH: As expected, Bollywood’s favourite designer Manish Malhotra revved up the filmy quotient with three actor-showstoppers ~ Sidharth Malhotra, Esha Gupta and Jacqueline Fernandez ~ for his show. However, despite the actors' glitterati, it was his stunning clothes that did all the talking. Titled 'Threads of Emotions', Malhotra’s collection was inspired by Phulkari embroidery from Punjab, which according to him, has been ignored. “I always wanted to promote India’s art and craft forms which I feel are snubbed these days. I focus on craftsmanship and showcase it at various fashion weeks by roping in celebrities, to make it more popular and influence more people to wear these handcrafted pieces,” he said. On the idea of having three young actors in his show, he said, "They are young, energetic and spirited. My collection sums up these three elements."
For sometime, the popular designer has been working to promote Indian craftsmanship through various shows. He also did a support-show for Shabana Azmi’s Mijwan Welfare Society last year. “For the past two years, I promoted Kashmir thread and zari work and chikankari from Mijwan, a small village in Uttar Pradesh. Now, WIFW is just the beginning for another cause,” he said.
Malhotra's collection mainly comprised beautifully-structured saris, anarkalis, floor-length anarkalis and angarkhas. For men, there were bandhgalas and other structured clothes. The primary fabrics seen were georgette, net and rawsilk with a lot of texture work. The designer’s panache was clearly visible in the perfect mix of colours, making his collection one of the major highlights of this fashion week. Navy blue, deep rust, earthy olive and intense red were fused together for a lasting impact.
Just before Malhotra’s show, Rajesh Pratap Singh enthralled the audience with his elaborate set, a refreshing one for the followers of this introverted and shy designer. He played with nature, created a scene full of autumn fall, with tamarind leaves all over the runway, followed by occasional showers of snowflakes. Rajesh, now the brand ambassador of Woolmark India, placed merino wool at the heart of his collection. Cleanly tailored, perfectly structured and interesting silhouettes left the designer’s followers cheering all the way.
Rajesh's ability to manipulate wool while injecting a sense of minimalism is worthy of praise. "The various techniques of making wool from felting to knitting, weaving on hi-tech looms to weaving on basic handlooms by high-skill weavers for Ikat weaves, wool yarn embroideries, tweeds, wool patchwork appliqués and embroideries have been used," said the designer. The models' footwear had leather and wool-tweed interspersed.

Abraham & Thakore tell a handloom tale

2013-03-19T20:34:00.003+05:30

karan bhardwaj

NEW DELHI, 15 MARCH: Designer duo Abraham & Thakore brought into the limelight the tedious job of handloom artisans in their show ‘Shaadi Redux’. The silk brocade from Benares was the highlight of the garments at the show, sponsored by the ministry of textiles. Last year, the ministry had sponsored a North-eastern show. “Handloom is depleting. Government must take more such steps in terms of collaborations and initiatives,” said David Abraham to The Statesman before the show.
Sharing details of the collection, he said, “Our creations reflect the mood of the modern bride. She doesn’t want to look gaudy and follows minimalist fashion while retaining the chic and elegance.” There were trouser dressings as a chic alternative to lehengas, an impressive thought altogether. Saris, kurtis, pants and other dresses had lots of zari cutwork and badla embroidery. “These silks have been woven by Ekaya, a famous store of Benares, exploring the very nature of weaving ~ the interlacing of the warp and weft, creating a strong visual geometry,” said the designer.
Kolkata-based designer Joy Mitra paid tribute to 100 glorious years of Indian cinema as he showcased a dedicated line inspired by films and actors. Actor Gauhar Khan performed briefly before the catwalk. The garments had coin-sized prints of actors like Madhubala, Rekha, Sridevi to name a few. But unfortunately, the designer, with a history of impressive shows in the past, failed to strike a chord among fashionistas this time. The ensembles lacked the true spirit of tinsel town as overly-done prints failed to make a mark. It could have been more creative and better presented with Bollywood’s landmark and repeated drapes, splash of colours and other dressing styles originating from movies. However, Mitra’s imagination was confined to a few prints which not only made the garments look messy but also hinted at lack of creativity and homework.
Designer Rajdeep Ranawat presented ‘Quixotic Regalia’, inspired by medieval royalty. The ensembles were simply constructed with prints, intertwining fractions of parchments, paisleys and authentic medieval jewellery. These prints were further highlighted with low domes of Swarovski elements. Sulakshana Monga used asymmetrical patterns with sharp cuts and slits to make dresses influenced by the West. She used a colour palette ranging from beige, aquatic blue to peach.

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Tarun Tahiliani brings Kumbh Mela to ramp

2013-03-19T20:33:00.007+05:30

karan bhardwaj

NEW DELHI, 14 MARCH: Ace designer Tarun Tahiliani brought alive the magnificence of the Kumbh Mela on Day 2 of the ongoing Wills Lifestyle India Fashion Week-Autumn Winter 2013 with his show ‘Kumbhback collection’. Adding more drama to the show, apart from the ensembles and accessories, was the live performance by ‘Sounds of Isha’ in the background, a band founded by the Isha Foundation. Swami Kevala from the band, remain unfazed by the glamorous presentation on stage and while speaking to the press, attributed his band’s performance to the force of spirituality’.

“I had gone to Kumbh at Makar Sakranti for two days and it was spectacular. We have become a divided society and shun the power of such holy practices. I think sadhus deserve to be loved and admired,” said Tahiliani after the well-attended show.
The designer evoked the feel of the mela through the mysterious drapes of various fabrics often attributed to the sadhus of Kumbh. “Like they (sadhus) wear and tuck it around, my clothes can be worn in the same manner,” said the designer. Models in long braids draped kurtis, saris teamed with jackets and other dresses in a complex yet elegant manner. Elaborate bags, belts, stoles and
bajubandhs comprised the accessories.
“I have always been inspired by their draping sense and wanted to bring it in my collection. I think we are losing the draping techniques gradually. Since I have been to the ashram, I thought of using the draping technique in more purposeful way and therefore, used various shades of saffron. I think it is the right time to do this collection," Tahiliani said.
“I have toned down the complex dresses to make them user-friendly. They can be worn within minutes and look very refreshing,” he added. Sharing details of the ensembles, he said, “There is a transition of colour from saffron to black and back to saffron. Since it's a fall winter collection, people like to wear more black. We have also mixed Cashmira with kalidar kurtas,” he said.
Before Tahiliani’s show, actor Gul Panag raised the glamour quotient as she walked for designer Urvashi Kaur. Clad in a maroon gown, Panag appreciated the designer for her vision and creative ensembles. “I know Urvashi for a decade now. We have been discussing my doing a ramp walk for a while and it finally happened now. I was very nervous initially
but the live soothing music helped me calm down,” said the 34-year-old actor who will be seen next in Ram Gopal Varma’s Ab Tak Chappan 2 and a Punjabi film, Sarsa.
“I don’t have qualities of a model like Lakshmi or Sapna as I am not a typical model. Since I belong to the entertainment industry and have also been the winner of Miss India title, people ask me to come and walk the ramp. I don’t even remember when I last walked on ramp,” she said.

People call me Masaba's mother: Neena Gupta

2013-03-19T20:33:00.004+05:30

Neena Gupta, clad in a black and red sari with a big round bindi, is a proud mother today. Her daughter, Masaba Gupta, who opened the ongoing Wills Lifestyle India Fashion Week – Autumn Winter 2013 with her first collection for Satya Paul brand, is creating waves in the fashion industry. "I am now called the mother of Masaba Gupta. That feeling is priceless!", she told The Statesman, extolling her daughter further, "I am very proud that she is doing great work. She has achieved a lot so fast. This is very different from what she has done so far.”

Neena explained it is difficult to switch through various styles and shoulder a huge responsibility at a young age. She raised Masaba alone before settling down with Delhi-based CA Vivek Mehra in 2008, and asserted her daughter’s health remained a concern for her.

"It is difficult to get out of your style and understand somebody else’s genre. And then, you work to change and evolve that as well. I think she has been given big responsibility at this young age and I am anxious about her health. Though I don’t help her in the profession, I make sure she takes proper care of her health and doesn’t neglect sleep and food on time," Neena added.

FDCI president Sunil Sethi also praised the star kid. "In India, this is the first collection designed for an established design house by a designer from outside the family that started it. She has done a wonderful job," he said.